SCHOOL SEWIN 

— • BASED ON 

HOME 
PROBLEMS 





BURTON 




Class T In lO 



Book.. 



Gopyriglit]^^- 



CQKRIGHT DEPOSm 



SCHOOL SEWING 

BASED ON 

HOME 
PROBLEMS 

BY 

IDA ROBINSON BURTON, B. S. 

Former Director Home Economics 
Muncie Normal Institute 

AND 

MYRON G. BURTON, A. B. 

Director Home-Study Service 
Kansas State Agricultural College 

Author cf 
"Shop Projects Based on Community Problems" 



PUBLISHED BY 

VOCATIONAL SUPPLY COMPANY 

MUNCIE, INDIANA 



TTjio 
• IS? 



COPYRIGHTED, 1916 

BY 

VOCATIONAL SUPPLY CO. 



AUG 23 i9l6 

(g)CU437597 



r TABLE OF CONTENTS 

PAGE 

^Title Page 1 

Copyright Page 2 

Table of Contents 3, 4, 5, (> 

" Preface 7, 8, 9, la 

Home Problems 11, 12, 13 

Suggestions to Teachers 14, 15, 16, 17, IH 

Instructions to Students 19, 20, 21, 22, 23 

Introduction to Section 1 24 

Needle Book 25, 26, 27, 28 

Wash Cloth : 29, 30, 31, 32 

Hand Towels 33, 34, 35, 36 

Handkerchief Case 37, 38, 39, 40 

Sewing Apron 41, 42, 43, 44 

Book Cover 45,46,47,48 

Button Bag 49, 50, 51, 52 

Hair Receiver 53, 54, 55, 56 

Holder 57, 58, 59, 60 

Child's Bib 61, 62, 63, 64 

Review Questions and Problems 65 

Suggestions for Home Application 66, 67 

Introduction to Section II 68 

Filing Pocket 69, 70, 71, 72 

Sleevelets 73, 74, 75, 76; 

Cap 77, 78, 79, 80 

Silver Case 81, 82, 83, 84 

School Bag 85, 86, 87, 88 

Broom Cover 89, 90, 91, 92 

Crocheted Turban 93, 94, 95, 96 

Darned Towel 97, 98, 99, 100 

Dresser Scarf 101, 102, 103, 104 

Kitchen Apron 105, 106, 107, 108 

Review Questions and Problems. 109 

Suggestions for Home Application 110, 111 



PAGE 

Introduction to Section III , 112 

Traveling Case 113, 114, 115, 11(5 

Embroidered Napkin 117, 118, 119, 120 

Shop Apron 121, 122, 123, 124 

Ironing Board Cover 125, 126, 127, 128 

Clothes Pin Apron 129, 130, 131, 132 

Scalloped Towel 133, 134, 135, 135 

Fancy Apron 137, 138, 139, 140 

Bedroom Slippers 141, 142, 143, 144 

Handmade Handkerchief 145, 146, 147, 148 

Embroidery Corset Cover 149, 150. 151, 152 

Review Questions and Problems 153 

Suggestions for Home Application 154,155 

Introduction to Section IV 156 

Sash Curtains 157, 158, 159, 160 

Laundry Bag 161, 162, 163, 164 

Pillow Case 165, 166, 167, 168 

Sofa Pillow Cover 169, 170, 171, 172 

Table Cover 173, 174, 175, 176 

Guest Towel 177, 178, 179, 180 

Bungalow Apron 181, 182, 183, 184 

Cooking Apron 185, 186, 187, 188 

Baseball Suit 189, 190, 191, 192 

Plain Petticoat 193,194,195,196 

Review Questions and Problems 197 

Suggestions for Home Application 198, 199 

Introduction to Section V 200 

Combing Jacket 201, 202, 203, 204 

Night Gown 205, 206, 207, 208 

Kimono 209, 210, 211, 212 

Princess Slip 213, 214, 215, 216 

Ruffled Petticoat 217, 218, 219, 220 

Cambric Corset Cover 221, 222, 223, 224 

Drawers 225, 226, 227, 228 

Pajamas 229, 230, 231, 232 

Boy's Shirt 233, 234, 235, 236 

Embroidered Luncheon Set 237, 238, 239, 240 

Review Questions and Problems 241 

Suggestions for Home Application 242,243 



Introduction to Section VI 

Middy Blouse 245, 246, 

Tailored Waist 249, 250, 

Tailored Skirt 253, 254, 

House Dress 257, 258, 

School Dress 261, 262, 

Wool Dress 265, 266, 

Silk Dress 269, 270, 

Lingerie Dress 273, 274, 

Gymnasium Suit 277, 278, 

Coat 281,282, 

Review Questions and Problems 

Suggestions for Home Application 286, 

Supplement 



PAGE 
244 

247, 248 
251, 252 
255, 256 
259, 260 
263, 264 
267, 268 
271,272 
275, 276 
279, 280 
283, 284 

285 
287, 288 

289 



Chapter I. Textiles — 

General Discussion 290 

Cotton and Cotton P^abrics 291, 298 

Linen and Linen Fabrics 298, 300 

Chapter II. Sewing Processes — 

Introductory Suggestions 307 

Straightening Cloth 308 

Basting and Tacking. . . . 308, 309 

Running Stitch 310 

Backstitch 310 

Combination Stitch 311 

Overhanding 311,312 

Overcasting 313 

Hemming 313 

Hemstitching 314, 315 

Rolled Hem 316 

French Hem 316 

Catch Stitching 316, 317 

Featherstitching 317, 319 

Cross-stitch 319,320 

Outline Etching Stitch.. 320,321 

Chain Stitch 321 

Seed Slilch 322 

Blanket Stitch 322, 323 

Couching 323,324 



Wool and Woolen 

Fabrics 301,304 

Silk and Silk Fabrics. . .304, 306 



French Knots 

Satin Stitch 

Lazy Daisy 

Hooks and Eyes and 

Snaps 

Forming a Loop 

Sewing on Buttons . . . 

Buttonholes 

French Seam 

Felled Seam 

Lapped Seam 

Overcast Seam 

Gathering 

Cutting Bias Strips. . . 
Squaring a Corner . . . . 

Mitering a Corner 

Patching and Darning. 

Crochet Stitches 

Plackets 

Sewing Machine 



324 

325 
325, 326 

326, 328 
328 
329 

330, 333 

333, 334 

334, 335 
335, 336 

336 
336, 338 

338, 339 

339, 340 

340, 342 
342, 349 
349, 352 
352, 357 
357, 358 



PAGE 



Chapter III. Care, Repairing, Cleaning and Pressing of Clothing- 



Laundering 362, 363 

Removing Spots and 

Stains 363,367 

Pressing 367, 373 



Clothing and Personality 359 

Economy in Dress 359, 360 

Care of Clothing 360, 361 

Altering Garments 361, 362 

Dyeing and Cleaning. . . . 362 

Chapter IV. Patterns and Pattern Drafting — 

General Discussion 374, 376 Drafting Kimono 

Drafting Foundation Waist 376, 385 Nightgown 390, 392 

Drafting Foundation Skirt 385, 390 Drafting Drawers . . . 392, 393 

INDEX OF PROJECTS. 



Baseball Suit 189 

Bedroom Slippers 141 

Book Cover 45 

Boy's Shirt 233 

Broom Cover 89 

Bungalow Apron 181 

Button Bag 49 

Cambric Corset Cover 221 

Cap 77 

Child's Bib 61 

Clothes Pin Apron 129 

Coat 281 

Combing Jacket 201 

Cooking Apron 185 

Crocheted Turban 93 

Darned Towel 97 

Drawers 225 

Dresser Scarf 101 

Embroidered Corset Cover... 149 
Embroidered Luncheon Set . . 237 

Embroidered Napkin 117 

Fancy Apron 137 

Filing Pocket 09 

Guest Towel 177 

Gymnasium Suit 277 

Hair Receiver 53 

Handkerchief Case 37 

Handmade Handkerchief. . . . 145 

Hand Towel 33 

Holder 57 



House Dress 257 

Ironing Board Cover 125 

Kimono 209 

Kitchen Apron 105 

Laundry Bag 161 

Lingerie Dress 273 

Middy Blouse 245 

Needle Book 25 

Nightgown 205 

Pajamas 229 

Pillow Case 165 

Plain Petticoat 193 

Princess Slip 213 

Ruffled Petticoat 217 

Sash Curtains 157 

Sewing Apron 41 

Scalloped Towel 133 

School Bag 85 

School Dress 261 

Shop Apron 121 

Silk Dress 269 

Silver Case 81 

Sleevelets 73 

Sofa Pillow Cover 189 

Table Cover 173 

Tailored Skirt 253 

Tailored Waist 249 

Traveling Case 113 

Wash Cloth 29 

Wool Dress 265 



PREFACE 

THE most striking feature of the modern educational system Is 
the atmosphere of practical application which surrounds every 
line of its endeavor. Educators have come to realize that the 
surest approach to the child's mind is through the light of his ex- 
perience. They are therefore striving to utilize the impressions 
gathered outside the classroom in motivating some of the mental 
gymnastics which, heretofore, have been sheerest abstractions. Not 
only has the scope of the curriculum been extended in such a way as 
to include the subjects founded upon home and community problems, 
but the very manner of dealing with those subjects themselves has 
undergone a change consistent with the general scheme of making the 
child's experience the constant handmaid to his training. 

Under the old school the plan of the textbook was to arrange 
the subject-matter in a logical and scientifically sequential form, 
giving but little thought to the manner of development in the child's 
mind. In those days it was thought that a textbook should rep- 
resent a storehouse of racial subject-matter arranged systematically 
and according to the most logical method. But little attention was 
given to the idea of making the textbook a bridge between the child's 
experience and the subject into which the child should be led. 

Modern thought along these lines has made evident the fact that 
the child's mind unfolds naturally in response to his experience, that 
the child is a learner outside the classroom, to and from school, and 
at home. In fact, during all his waking hours, he is continually 
absorbing from his environment. With this fact in mind, the so- 
called "phychological" method of instructing has come into vogue. 
That is, the immediate interest of the child is utilized in an 
effort to lead him into the realms of the unknown. A consideration 
of this conception easily leads one to believe that the method of pro- 
cedure in teaching could not then be identical in any two children, 
due to the fact that no two children are equally endowed mentally, 
neither have their experiences been the same. Therefore the psycho- 
logical plan of teaching in its strictest sense could be perfectly em- 
ployed only in a class consisting of one student. If this psychological 
plan were followed to the extreme there is great danger that it would 
lead to random thought, encouraging a sort of mind wandering, due 
to the fact that no definite goal existed. 



8 

Ironclad advocates of the old school of logical lliifiking appar-' 
ently believed that the child existed for the sake of fittiftg himself 
into the established methods of training, and that each child should 
be slavishly led, or driven as the case might be, through this pre- 
scribed course, regardless of his personal aptitudes or individual 
inclinations; likes and dislikes were not in the consideration. It 
was this school of pedagogy which believed that the sequential logic 
of the subject should be the master in prescribing the order of pro- 
cedure in all school texts. On the other hand, the swing of ihe pen- 
dulum brought many so-called educators to the opposite extreme" 
where they were ready to cast aside every form of prescribed methods 
of procedure, and in every line of thought endeavor to cause the mind 
to unfold "naturally" with but little foresight as to the ultimate goal. 
This sort of procedure was sure to result in rambling which gave the" 
student absolute command of nothing that would function in the 
solution of future problems. 

These two extremes lie open to anyone who attempts the prep- 
aration of a textbook. While the logical arrangement has beerr 
rigidly followed for many generations past in some of the old line 
subjects, it has asserted itself only to a very limited degree in the 
newer industrial lines. There have, however, been a few attempts 
at industrial textbooks which were so inflexible in the work that 
they set forth as to stint the development of the students, and give 
them but little that has any connection with the great store of world 
subject-matter. There can certainly be no greater pedagogical error 
than to introduce a practical subject and then teach it in such a way 
as to strip it of all of its practical applications. 

By far the greatest error, however, has been at the other extreme 
of the pendulum. Too much of the industrial work of our public 
schools has been so afraid of falling into the conventional forms of 
the older lines that it has been almost chaotic; on account of this lack 
of method, it has brought results which were far from satisfactory. 
The newness of industrial work as a public-school undertaking has 
naturally been the cause of its failure to conform to established 
methods of procedure. Superintendents have been impressed with 
the beautiful theories often set forth by the expert industrial teacher 
saying that the work should be made to conform absolutely with 
the child's personal experiences, and that every problem should arise 
out of the child's own conception and initiative. Such methods have 
been tried and superintendents have been very much disappointed 
to find that, when the classes were entrusted to less skillful teachers, 
the educational results fell far short of the expectations which had 



been set upon hearing this theory so beautifully expounded by the 
expert. 

If any line of handwork is to have its real educational value it 
can not be at variance with the established rules of pedagogy. It is 
absurd to think that a child undergoes any transformation, either 
physically or mentally, because it happens to be in an industrial 
laboratory, rather than in a classroom for the abstract subjects. In 
the preparation of this text, which is based upon many years of 
personal instruction and observation of all types of schools in several 
states, the effort has been to find a sane medium between the rigid 
logical method of arrangement and the almost chaotic result of the 
unqualified psychological method. 

Those who are familiar with the subject of sewing are well aware 
that it does present many scientific phases, and that there are correct 
and incorrect ways of doing things which belong to this important 
art. These established principles are but the outgrowth and develop- 
ment which the age now holds as its heritage from the careful and 
thoughtful efforts of generations gone by. Surely each girl should 
not be called upon to relive all these experiences in the sewing class, 
and to develop herself from the crudest undertakings of sewing 
through all of the primitive steps which have made possible our 
modern needlework. Neither, on the other hand, should the child 
be compelled to master in an absolute way a definite and prescribed 
set of disassociated needlework principles. The experiences of the 
child, her own environment, and outlook into her future occupation, 
as well as her immediate needs should be studiously considered in 
prescribing her work. The course should be sufficiently flexible to 
adapt itself to these various needs without in any way disregarding 
the established principles of the subject. The apperceptive powers 
of the girl constitute her only means of interpreting her surroundings. 
With this idea in mind, this text has been designed to deal with 
logical principles in a psychological way. Paradoxical as this may 
seem at first, an examination of the text reveals the fact that every 
lesson presents ample opportunity for the student to acquaint herself 
with different principles, and at the same time employ those principles 
in the making of a project which will appeal to her native interest. 
In order to provide for the development of initiative and to stimulate 
the exercise of individual tastes, untold possibilities lie open in the 
matter of original design, choice in decoration, and in the employ- 
ment of the artistic touches which are in no way a violation of 
principles. 

In order to meet the widely difierent conditions of mind, which 



10 



must necessarily exist in the children who come from homes of vary- 
ing conditions, a very extensive list of projects has been presented in 
each section. Kindred ones have been suggested, thus making it 
possible to claim the interest and attention of every normal girl, 
allowing her to make articles which are of practical value in her 
daily experience, and at the same time, enabling her to develop her 
latent talent for artistic expression. 

As this text is submitted to the opinion Of our fellow teachers it 
is our most sincere hope that it will find some place in which to otter 
its share of real practical assistance to every force which is endeavor- 
ing to render practical service to our girls who desire to fit themselves 
for lives of usefulness. 




11 



HOME PROBLEMS 

THE most severe criticism which is being brought upon our 
public schools today comes from professional men, great cap- 
tains of industry, and those who have devoted their lives to the 
practical problems of a busy world. It is not uncommon to hear it 
stated that public schools fail to empower students with the kind of 
information which they can employ after leaving the schoolroom. 
The most ardent supporters of our educational schemes will not deny 
that there is some justice in this accusation. 

The schools which are becoming famous throughout the country, 
for the excellent work which they are doing, are those which are 
taking into vital consideration the needs of the community and the 
home. We have come to understand that it is just as cultural and 
just as intellectual for a child to engage her talents in the solution of 
some practical home and community problems as it is to spend the 
entire time and attention solving mathematical conundrums or 
enigmas of languages which will probably never be employed in her 
daily occupation. 

As soon as a girl leaves school she will be called upon to solve 
a great many problems in which an incorrect solution will not mean, 
an unsatisfactory grade on her report card, the loss of a holiday or 
the punishment of remaining in the same grade a second year; but 
she will be confronted with a class of problems, the failure in whose 
solution will mean the loss of social standing, impaired health, un- 
happiness and misery to her family and possibly even death itself. 

The problems of life demand a more careful solution than any 
of the problems with which she has been dealing in school. Incorrect 
solutions at school may be revised under the guidance of the teacher; 
incorrect solution of a home problem can not always be revised, and 
much less is there an opportunity to make a second attempt under 
skillful guidance. But little argument is necessary in convincing 
wide-awake, modern educators of the real value of the introduction 
of home problems into school work. 

The subject of sewing ofTers an opportunity for correlating the 
activities of the home and the school in a way which is sure to 
employ the natural interest of the student, and to use her inherent 
disposition toward activities in working out a line of accomplishments 
which will mean much to her when her school days are over. Surely 



12 

the consideration of such problems can not be lightly estimated even 
from the standpoint of their cultural value. 

Too many girls fail to comprehend what is meant by home prob- 
lems. To them the v^^ork of the housewife is a mere matter of course, 
with its drudgery and its never ending round of the same duties day 
after day. If they could be brought to realize that the problems of 
the home- are just as worthy the employment of their thought; and in 
fact oftentimes fully as difficult of solution as the work of Geometry, 
Chemistry or Physics, then more girls would respond with interest 
lo this challenge of their ability. The interest in obedience to home 
authorities and regulations may also be very much enhanced by a 
proper understanding of home problems. The girl who realizes the 
numerous problems which confront her mother, and fully under- 
stands that the mother is constantly racking her brain to find a 
correct solution of her problems, will have a broader sympathy for 
her mother, and will be less likely to add annoyance by thoughtless- 
ness occasioned through her lack of interest in those problems. 

The matter of providing satisfactory clothing for the different 
members of the family, keeping their clothing in the best possible 
condition of cleanliness and appearance, is a problem of no little 
concern. Particularly is this true in an age when tastes and designs 
are continually changing, bringing about fashions some of which 
are consistent with real needs while others are merely gaudy and 
superficial. A girl should learn to discriminate between her wants 
and her needs in matters of apparel. She should learn to comprehend 
the economical problems of costs and values, training herself to dis- 
tinguish between the two, fully understanding that cost and value do 
not always go hand in hand. 

The problems of mending are so homely as to be usually ignored. 
There is certainly no sane reason why the matter of patching, darning 
and other phases of mending should be any less dignified than trans- 
lating a foreign language, solving mathematical problems, or doing 
research work pertaining to the history of ancient nations. 

The aim and hope of each lesson throughout the text is given 
with this idea of enabling the student to comprehend the fact that 
there are certain home problems for which the particular project in 
the lesson offers a partial solution. It is not expected that the teacher 
should go into detail sufficiently to require that each student should 
thoroughly comprehend the home problems from which the project 
is drawn, however, the more completely the problems are studied 
the more likely is the student to pursue the project with interest. It 
is no more reasonable to expect that every girl should become a 



13 



seamstress than to expect that every girl should become a clerk or 
school teacher; but it is imperative that every girl should be deeply 
concerned in the problems of home life, and it is but natural to sup- 
pose that she will at some time be confronted with the problems, 
whether in the management of her own home or in contributing to 
the happiness and welfare of those among whom she makes her home. 
Surely the training which gives a girl a self-reliance in being able to 
make her own clothes is worth while. If she never cares to do her 
ow^n work she should at least have training sufficient to enable her 
to direct the work which will be done for her. The best way to instill 
the proper respect and appreciation for home is to give a girl an 
early understanding of the existence of home problems, and to equip 
her with some means of approaching them. 




u 



SUGGESTIONS TO TEACHERS 

THE following suggestions to teachers are intended to give a 
broad conception of the underlying principles upon which this 
text is founded and to offer means by which it can be made most 
effective in the hands of the student. It is not the intention to curtail 
the possibilities nor any of the originality or initiative of the teacher, 
but rather to relieve her as much as possible of the drudgery and 
minor details which fall to the lot of one who must constantly be a 
source of information and advice to her classes. In practically all 
other school subjects the teacher has the advantage of being able to 
place in the hands of her students some sort of literature from which 
they may gather the essential facts of the subject-matter. In proper 
justice to the teacher of sewing, as well as to the student, these 
classes should be provided with some means by which they may 
gather pertinent information and direct their own activities by their 
own powers of research. This will conserve the teacher's time and 
energy, allowing it to be devoted to the more important functions of 
studying the case of each individual student and then prescribing 
work suitable to meet those needs. 

This book is divided into six sections and each section presents 
ten projects in detail, and offers suggestions for optional modifica- 
tions which may be used in the construction of three or four times 
as many additional projects. It is not the intention that any one 
student should be required to make every project in each section, 
but the aim has been rather to set forth an abundance of work from 
which the teacher may direct the choice of each student, after con- 
sidering carefully her individual tastes and needs. No attempt has 
been made throughout the different sections to grade the projects and 
present them in the exact order of the sequence of processes, but 
rather to present a series of projects dealing with kindred principles, 
thus offering an opportunity of appealing to the various tastes of the 
students. It will be found, however, that the sections are somewhat 
sequential from the standpoint of difficulty. It is therefore suggested, 
that for the most part, the work should be taken up in the order 
presented in the text. 

When a student has completed one project, by a careful grading 
of the finished product as well as by a thoughtful consideration of 
the capability of the student, the teacher should advise her what 
project she is to undertake next. In making these selections the 



15 

personal wishes of the student should be carefully considered, and 
the selection should be made in such a way as to give each girl further 
training on the particular processes which she did not do satisfac- 
torily in her last project. In this way it will be possible for the 
teacher to strengthen the weaker points of the student by review 
without losing any of the interest which comes with undertaking a 
new project. It will be observed that in each section there are offered 
l^rojects of such a nature as to appeal to the interest of almost any girl. 
The introduction to each section should be carefully perused by 
the teacher in order that she may have a fairly clear idea of what 
that section embodies. It would be well for the teacher to acquaint 
herself with the processes set forth in each project before allowing 
the girls to undertake any of them. The student who has not suf- 
ficiently mastered the work of one section should not be permitted 
to pass to the next, but should be given further work, either from 
the regular lessons, or from the suggestions for optional modifications 
until she has proven her capability of undertaking the processes set 
forth in the next section. It is not necessary that all students of the 
class be working on one project or even projects from the same sec- 
tion at the same time; in fact, too much emphasis can not be laid 
upon the matter of giving to each girl the work best adapted to her 
personal development, regardless of what the other members of the 
class may be doing at that particular time. One of the principal 
reasons for placing the textbook in the hands of the student is to 
make it possible for this plan to be carried out. 

On the opening page of each lesson is given a half-tone illustra- 
tion to enable the student to visualize the essential points of the 
thing which she is about to undertake. These illustrations will also 
be found useful in guiding the teacher and students in making a wise 
choice of projects. With each lesson will be set forth the amount of 
material required for its construction. A suitable kind of material 
is suggested; this does not mean that that kind of material is the 
only one suitable, for in a great many of the projects a very wide 
latitude of choice is allowed. However, the material recommended 
is very commonly used and will give excellent results. 

Following the name of the material will be found paragraph 
references. These references refer to the supplement at the close 
of the text. By referring to these paragraphs a discussion of the 
different kinds of cloth will be found. These discussions will afford 
material for research work, and it is urgently advised that teachers 
require their students to make a careful study of these references. 

No attempt is made to give a technical discussion of the various 



16 

fabrics, but merely to cover the points of general information which 
will be found of practical value in the average home. This reading 
may be done outside the regular sewing period, it may be used as the 
basis for language or composition work, or used in a number of ways 
which will no doubt suggest themselves to the thoughtful teacher. 

On the first page of each lesson will be found the "Introductory 
Statement." The purpose of the introductory statement is to enable 
the student to realize that the thing set forth deals with a home prob- 
lem. While no effort is made to give the child a full comprehension 
of the home problem which the project of that lesson helps to solve, 
yet the introductory statement is made sufTiciently exhaustive to 
bring to the mind of the student the fact that such a problem exists 
in the average home. TTiroughout the text it has been the policy to 
offer no project Which does not have a real function in home life. 
Students should read the introductory statement of each project 
which they make. It would also be well to have all the introductory 
statements read and discussed in class regardless of the projects 
which the class is to undertake. This consideration of these intro- 
ductory statements will develop the judgment and awaken the interest 
of the students in a way which would not be possible if they were 
omitted. 

At the close of the introductory statement a number of references 
will be found. The purpose of these references is to cite authority 
to which students may refer for kindred information. Students are 
often at a loss to know where they may find reading matter pertain- 
ing to Domestic Art subjects. The references given in connection 
with each lesson are not necessarily kindred to the problem set forth 
in that particular lesson, but they will be found of great value in con- 
sideration of the general problems embodied in the lesson. 

On the second page of each lesson a number of suggestions for 
optional modification are given. These pages are designed with the 
idea of bringing before the students possibilities of developing the 
idea given in the project, and of encouraging them to use their 
own initiative in the construction of similar projects. Students should 
be encouraged to make a great deal of use of the suggestions for 
optional modification, and from the ideas set forth in these sugges- 
tions, they should be required to design and execute as many 
ideas of their own as possible. No attempt is made to give complete 
working directions for the difi"erent optional modifications presented. 
Only a mere suggestion can be offered relative to each. The re- 
mainder of the work is purposely left for the student to develop. 

On the last page of each lesson the working directions are given. 



47 

The purpose of the working directions is to guide the student in the 
construction of the project. It is not claimed that the methods of 
construction, and the manner of procedure set forth in these working 
directions, are the only possible ways of doing the work; these di- 
rections are given merely as safe guides. It will be found most bene- 
ficial to require the students to read for themselves the directions as 
set forth, and to execute the work without further interpretation from 
the teacher. This method will not only develop the power of self- 
reliance and research of the student, but will conserve the time of the 
teacher for her more important duties. The teacher should assist a 
student only when that student has exhausted her own resources in 
interpreting the method of procedure. 

Throughout the working directions a great many paragraph ref- 
erences are given referring to the supplement. Each of these ref- 
erences should be carefully studied, for in them will be found half- 
tone illustrations, and carefully worded discussions explaining how 
to execute the ordinary fundamental stitches and details of the most 
important processes of jjlain sewing. After the student has followed 
these references in a few lessons she will then be able to continue 
her work without further reference to them except as new processes 
are introduced. Sufficient references should be made, however, to 
make sure that no incorrect habits are developed. Throughout the 
text a great deal of latitude has purposely been offered in many of 
the processes. Custom has caused considerable variation in the exe- 
cution of a number of processes in sewing. The practices set forth 
in this text are such as have been thoroughly tested by many years 
of teaching experience, and have also been recognized and approved 
by practical seamstresses. 

At the close of each section will be found a list of review ques- 
tions. The purpose of these questions is to make sure that the stu- 
dents have gathered the most important points from the projects in 
that section. These questions may be used for written examinations, 
for oral tests, or in any way that the teacher may see fit. No doubt 
the teacher will have a great many important questions which may 
be added to this list. The careful consideration of the questions given 
will reveal the fact that the purpose of these tests is not merely a 
matter of examination, but they are designed to develop in the student 
an interest in home problems, and to inculcate a desire to take part 
in home activities. 

At the close of each section will also be found a number of sug- 
gestions for application to home problems. The underlying function 
of this text is to connect school needlework with practical home 



18 

sewing problems. In order to do this, every effort is made to bring 
the home problems into the school work and to encourage the chil- 
dren to carry home the principles developed in the class. Every 
teacher should encourage her students to bring from home a great 
number of pieces of work to be used in the class period. There is 
no reason why much of the home mending, darning and patching 
may not be done by the girls at school. It is at least imperative that 
the girls should assist in the work at home even if they do not carry 
a portion of it to school. Whatever emphasis is placed on the regular 
lessons of this text, there certainly should be no neglect of the sug- 
gestions for home application. Specific directions can not be given 
for conducting this work; each ter cher must be left to her own re- 
sources and initiative in working out ways and means of connecting 
home and school activities. The success of school sewing must be 
measured in a large degree by the interest which the girls have in 
home work, and by the results they get in their home undertakings. 
Girls should be encouraged to ask questions of their mothers, to 
bring such information to school and to compare that information 
with the information gathered from their research work. The care- 
ful handling of the subject in this way will make it possible for the 
girls to have the advantage of the scientific information set forth in 
the text, plus the practical experience of the home. It must be con- 
stantly kept in mind that it is not the purpose of the work merely 
to teach the girls a few needle practices, but rather to give them a 
broader education in the art of home sewing and to develop their 
appreciation for this class of life problems. 



19 



INSTRUCTIONS TO STUDENTS 

WHEN you undertake this work in sewing it will seem a little 
strange to you at first for it is somewhat different from the 
regular class work which you have been doing at school. In 
this work you will have a chance to learn by doing as well as by 
studying and thinking, and you can always make use of some of the 
things which you have learned at home. This work should be ex- 
tremely interesting to you because of its relation to the things which 
you will no doubt be called upon to do throughout j'our entire life. 
The purpose of sewing work is not merely to furnish you employment 
for your hands, but to teach you to direct your hands skillfully in 
the doing of the things which your mind must fully understand. It 
is very interesting to know that the skillful use of the hands comes 
only by proper guidance from the brain, so this work in sewing will 
give you a chance to use both mind and hand. The difference between 
a great artist and a laborer lies in the fact that the artist puts more 
brain work into his efforts than does the laborer; this explains why 
one is an artist and produces things of beauty, while the other is 
compelled to do the drudgery of the world. 

There is such a great number of valuable and interesting things 
given in these lessons, that you will be able to make selection of the 
ones which you like best. This does not mean that you should simply 
peruse the book and choose the thing which pleases your fancy 
without regard to your need or preparation to undertake it. ITie 
lessons set forth in the early portion of the book are easier because 
they employ elementary processes. Throughout the book you will 
find that the projects become more difficult because they introduce 
more advanced principles. You must not expect to undertake the 
more difficult lessons until you have successfully completed some of 
the elementary ones. It would be well for you to discuss with your 
teacher and your mother the project which you wish to undertake. 

After you have begun a project, never leave it until it is finished. 
Half finishing a task is not good training for it develops slovenly 
habits which, if followed, are sure to bring unsatisfactory results. 
You should cultivate the habit of finishing any task when you have 
once undertaken it, even though you may find some portion of it 
rather irksome and difficult. 



20 

Sometimes the school program is so arranged that the sewing 
class does not meet every day; this is frequently offered as an excuse 
for forgetting materials or neglecting to bring some equipment nec- 
essary for the recitation. Certainly such carelessness should be 
avoided. At the beginning of the work, pro\ide yourself with some 
sort of sewing basket, box or bag. A properly made sewing apron 
with pockets will also aid greatly in caring for your equipment. 

A pair of sharp shears, a tape measure, a thimble, a paper of 
assorted needles and a supply of thread should always be on hand. 
Tlie larger materials, trimmings, etc., required for the different 
projects, may be provided as needed. 

Work should never be carried home without the permission of 
the teacher, however, it would be well to take partly finished projects 
home occasionally in order that your mother may have an oppor- 
tunity to see just how you are doing your work. When work is thus 
taken home it should not be left there for mother or someone else 
to finish, but should be promptly returned to school in order to be 
continued at the next regular sewing period. Your textbook may also 
be taken home frequently for reference in connection with your home 
sewing duties, but it must always be brought back to the classroom 
in ample time for the school work. 

At the opening of each lesson you v/ill find an illustration giving 
you an idea as to the appearance of the finished product. You should 
study the illustration carefully, for it will enable you to form a clear 
idea of the thing which you are about to undertake. You will also 
find a list of the materials which will be required to make that par- 
ticular project. Of course in some cases the size of the material will 
vary, particularly, if it is for a wearable garment, for in that case the 
size of the person who is to use the garment will determine the size 
of it. You will notice that there are paragraph references following 
the name of the material suggested. You should turn to the supple- 
ment at the back of the text, and read carefully the i)aragraph referred 
to, for this discussion deals with the particular kind of material 
recommended for the project. It is just as important that you should 
understand the nature of the material that you are using as it is to 
be able to make the piece of work. This does not mean that the kind 
of material suggested in the lesson is the only kind suitable; in sewing 
you have a great choice of materials, however, the kind of material 
mentioned is generally the one most commonly used. 

Every lesson has an introductory statement on the first page. 
This statement deserves very careful study for it will help j'^ou to 



21 

understand that this particular project is given because it has a prac- 
tical value in the solution of some home problem. You may not 
always fully understand the home problem, but it will be worth while 
for you to think about it. 

At the bottom of the first page of each lesson you will iind a 
number of references. These books may be found in your library 
or in some public library to which you have access. These references 
are given for the purpose of enabling you to find further reading 
matter along the lines set forth in this book. It will be well for you 
to read many of these references, for you not only wish to become 
skillful in sewing processes, but you should develop as much infor- 
mation as possible in connection with the subject. 

On the second page of each lesson you will find some additional 
pictures and suggestions for original ideas which may be used. These 
illustrations show some suggestions for optional modifications; that 
is, they will show you some changes which can readily be made in 
the project and at the same time not introduce any entirely new prin- 
ciples. You will observe these changes or modifications usually deal 
with matters of decoration. It will be well for you to attempt original 
designs in as much of the work as you can, always discussing with 
your teacher the ideas which you expect to undertake. 

The next page of each lesson takes up the matter of working 
directions. These working directions are given with the idea of 
guiding you in doing all your work. You should read them very 
carefully as the work progresses. You will notice a number of 
paragraph references throughout the directions, these references refer 
to chapters and paragraphs in the supplement. Each one of these 
references should be found and studied carefully, for here you will 
find the complete directions and illustrations showing you exactly 
how to carry out each dilTicult process. The working directions do 
not make any attempt to illustrate or give details of sewing processes, 
all these are set forth in the supplement. It may not be necessary 
for you to refer to the supplement more than once or twice on each 
process, but you should refer to it often enough to make sure that 
you are doing your work correctly, and thus avoid forming any in- 
correct habits. 

The real value which you get from this work will depend upon 
the way in which you approach it. Do not attempt to finish any piece 
of work in the shortest possible time, rather try to see how well you 
can do it. There are really not a great many difficult things for you 



22 

to learn in sewing, but there is an unlimited number of ways in 
which you can employ those things. 

A great many girls make the mistake of starting a piece of work 
in a rather careless hurrying manner; they often become proud of the 
work when it is near completion and desire to make it neat and at- 
tractive, but it is marred by some of the errors which were made on 
account of too much haste at the start. Remember that the time to 
begin a very fine piece of work is at the first step in its making. An- 
other very important thing for you to learn from these lessoas is to 
be orderly and systematic in all your habits of work. The sewing 
work gives you an opportunity to observe the value of having a 
place for everything, and of keeping everything in its proper place. 
When you are through with the sewing period all working materials 
should be carefully laid away so you will know where to find them 
when they are needed again. Habits of this sort should be developed 
in all of your work for neat and orderly habits are sure to lead to 
success in any occupation. 

At the close of each section you will find a list of re\aew questions. 
These review questions should be carefully studied. It would be 
well to keep a notebook in which to write the answers to these ques- 
tions. This will make sure that you are gathering the most important 
points as you complete each section. 

The pages presenting "Suggestions for Home Application" are very 
important, for these applications will be the real test of what you 
have learned in the sewing work. If in the making of any single 
project you have not mastered some principles which you can apply 
on the problems at home, your work will have been much in vain. 
Take an interest in the problems of repairing, patching and darning 
at home. See how many of the different things which you have 
learned in school can be employed at home. It would be advisable 
to have a definite period each week in which to spend as much time 
as convenient on the home garments, practicing the instructions set 
forth in the sewing lesson. 

Your parents will no doubt be very much pleased to find you 
taking an interest in the home problems. You would be surprised if 
you could know how much you may lighten mother's tasks by assist- 
ing a little in these problems which she must consider day after day, 
month after month, and even year after year. You might be able to 
assist in selecting and purchasing materials for garments for yourself 
or members of the family if you have properly acquainted yourself 
with the different textiles explained in this book. 



23 



Undertake this work not with the idea that it is drudgery or 
labor, but with the feeling that it is an opportunity to use your best 
powers of thought in some of the most worthy tasks which it is a 
woman's privilege to undertake. 



24 



INTRODUCTION TO SECTION I 

SECTION I deals with the most elementary processes of hand 
sewing. The lessons set forth in this section will be found suit- 
able for sixth or seventh grade girls who have had no previous 
systematic training in sewing. Before undertaking any of the sewing 
lessons, each girl should be supplied with simple sewing equipment, 
such as needles, thread, shears, tape measure, thimble and some sort 
of sewing bag or box. The sewing materials may be brought from 
home or they may be purchased in bulk and passed out at school as 
the teacher sees fit. This is purely a local problem, but it is extremely 
necessary to have arrangements made whereby each girl may be satis- 
factorily supplied at the sewing period. 

Each girl should be supplied with a text of her own in order 
that she may have the undisturbed use of it; each student should be 
required to read freely and to interpret for herself. 

Before undertaking any of the actual work in sewing, the girls 
should be required to turn to the supplement and study carefully the 
correct and incorrect position, to make sure not to form any bad 
habits in their daily work. The different stitches and processes may 
be referred to, and studied as they are introduced in the making of the 
project. 

It is ad\ised that students who have had no previous training 
make their first selection from the early projects set forth in this 
section. As many projects from this section should be made as is 
necessary to acquaint the student with the elementary stitches set 
forth. It is not supposed that students should absolutely master all 
of the processes set forth before they are allowed to pass on to the 
next section. Success, speed and skill in se\\'ing come only after long 
and careful practice. 

If a student has acquired high ideals of excellence, and under- 
stands that each process must be executed to the very best of her 
ability before undertaking another one, the particular processes cov- 
ered by her work need not be a matter of deep concern. 



25 



NEEDLE BOOK 

MATERIALS. 

Art Canvas (Chap. I. Par. 8). 

Outing Flannel (Chap. I, Par. 
30) or 

Felt (Chap. I. Par. 58). 

1 piece art canvas 4y2"x6V2 ". 

1 piece outing flannel, or felt, 
6"x7". 

Crewel or rafTia needle No. 5. 

Colored san silk, or similar 
mercerized embroidery 
cotton. 



INTRODUCTORY STATEMENT. 

A place for everything and everything in its place is a rule that 
applies particularly well to the sewing basket, which easily becomes 
so hopelessly out of order that a great deal of time may be wasted 
in looking for the articles which it contains, 

A needle book is a very convenient article to have for the work 
basket, as it provides a place in which to keep needles of various 
sizes. It is also a very convenient way of carrying a few needles in 
the t-raveling bag as it folds flat and occupies very little space. Cre- 
tonne makes a pretty needle book cover, but being a figured material, 
leaves but little opportunity for hand decoration. 

The art canvas used for the cover of the needle book in this 
lesson is suggested because it gives an opportunity not only to make 
a pretty cover, but also to practice some of the stitches which will 
be used later. 




References : 



Needles, How We Arc Clothed, Chamberlain. 
Needles, Great American Industry, Vol. Ill, W. F. Rocheleau. 
Pins, The Making of America, Vol. VII, Chas. M. Karch. 
Pins, Great American Industry, Vol. Ill, W. F. Rocheleau. 



26 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




BOOKMARK. 
No. 1. A bookmark may be made of one strip of art canvas 
about 2"x8", blanket stitched the same as the needle book, with neat 
stitches for trinmiing. 

NAPKIN RING. 
No 2 The napkin ring is made very much like the bookmark, 
with a row of catch stitching and chain stitching inside. The rmg is 
formed by over-lapping and fastening the ends. 

PENWIPER. 

No 3 The penwiper is made of art canvas with leaves very 
similar to the needle book. The leaves are fastened to the base by 
taking a short stitch and tying the thread. 

NEEDLE CASE. 
No 4 A needle case mav be made of cretonne about 3" wide by 
7" long A contrasting plain color is basted to the wrong side, and 
the ed^e of the cretonne is turned over it and hemmed in place, the 
leaf is made of outing ilannel or felt. The book is folded over like a 
pocket book and fastened with a snap. 



27 



WORKING DIRECTIONS FOR NEEDLE BOOK 

Straighten one short edge of the art canvas by drawing a thread 
and cutting on the line (Chap. II, Par, 102). Straighten one long edge 
of the material in the same manner. On the short edge measure out 
4". (The length of the needle book), draw a thread, and cut on the 
line. On the long edge measure out 6" (twice the width of the needle 
book). Draw a thread and cut on the line. 

DECORATING THE COVER. 

Finish the edges of the art canvas with blanket stitching (Chap. 
II, Par. 128), making the stitches at least ^A" deep and Vs" apart. As 
the canvas ravels easily you must avoid pulling the thread too tight 
while working. 

The stitches used in decorating the surface of the cover may be 
selected as desired, but the running stitch (Chap. II, Par. 106) is 
used in the booklet shown in this lesson. A short stitch like the 
running stitch, backstitch or cross-stitch, is better to use for this 
purpose than a long stitch, on account of the corners that must 
be turned. 

THE INITIAL. 

An initial with square corners should be used if it is to be worked 
with the cross-stitch, as you cannot work very satisfactorily on curves 
with this stitch. First design the initial desired on a piece of 
paper, copy it with a pencil in the center of one side of the cover, as 
shown in the illustration, or if necessary, transfer it with carbon 
paper, as follows: Pin a piece of carbon paper slightly larger than 
the initial, carbon side down on the needle book. Place design over 
it, pin it down at the top and bottom and trace it with a lead pencil. 
Remove design and carbon paper and work the initial by taking first 
a vertical stitch, then a horizontal stitch on the lines of the drawing. 
The slanting cross-stitch may be used instead, if desired, by follow- 
ing the directions given in Chap. II, Par. 124, or the backstitch will 
make a pretty initial (Chap. II, Par. 107). 

PREPARING MATERIAL FOR LEAVES. 

Straighten one short edge of the outing llannel by drawing a 
thread and cutting on the line (Chap. II, Par. 102). Straighten one 
long edge in like manner. To lay out the large leaf, measure out on 
the long edge of the material 3^ j", the length of the leaf, and draw a 
thread. Measure down on the short edge of the material bVo" (twice 



28 

the width of the leaf) ; cut on the lines. Make the second leaf 8 " long 
by 5" Avide, in the same manner. 

Blanket stitch (Chap. II, Par. 128) completelj^ around the edges 
of these pieces with the mercerized cotton. If felt is used for these 
leaves, the edges may be finished with small notches. Outing flannel 
would ravel if finished in this way. 

FASTENING THE LEAVES TO THE COVER. 

Fold the narrow ends of the cover together as you would close 
a book and crease firmly on the fold. Open Hat on the table or 
desk. On the upturned side lay the largest piece of outing llannel. 
On this piece place the second, arranging them so there is a uniform 
distance between the edges of each leaf and cover, all the way round. 
Hold the leaves against the cover as you have placed them, then turn 
the cover side toward you and with a needle and double thread sew 
through the crease formed by the folding, inserting the needle about 
1" from the upper edge of the cover, leaving about 6" of the thread 
extending to tie in a bow; bring the needle through again about 1" 
from the lower edge of the book cover, on the same fold. Cut the 
thread ofT near the eye of the needle and tie the two ends in a neat 
bow. Trim the thread if necessary. 

Needles may be arranged in vertical rows in the leaves of the 
needle book where they will be ready for use when needed. 



29 




WASH CLOTH 

MATERIALS. 

Turkish Toweling (Chap. I, 
Par. 35). 

1 piece Turkish toweling 14" 
square. 

San silk, or similar mercer- 
ized cotton the color de- 
sired. 

Crewel or embroidery needle 
No. 5. 



INTRODUCTORY STATEMENT. 

There is an old axiom, "Cleanliness is next to Godliness." This 
is a general statement and refers to the care of the body as well as 
the care of the home. The wash cloth is a valuable aid in keeping 
the face clean. It takes quite a number of wash cloths for the aver- 
age family for they lose their efficiency after they become badly 
soiled, and clean ones need to be supplied frequently. 

It is very desirable for each member of the family to have an 
individual wash cloth, which may be marked with an initial. While 
any soft cloth will answer the purpose, Turkish toweling, which has 
been suggested for the wash cloth in this lesson, is particularly de- 
sirable because of its loosely woven threads, giving a rough texture 
which readily removes the dirt from the skin. Soft huck toweling is 
also used for wash cloths. 



References : 

Story of the Cotton Plant, F. Wilkinson. 

Manufacture of (lotton, The Great Industries of the Tnited States. 



30 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




WASH CLOTH. 

No. 1. This is a Avash cloth made from Turkish toweling about 
12" square with a Yi" hem, blanket stitched around the four sides. 
The initial is worked with the outline etching stitch. 

WASH CLOTH. 
No. 2. This wash cloth is made of huck or Turkish toweling 
about 12" square with a l(i" hem, basted, then held in place on the 
right side with catch stitching. The initial is worked in French 

knots. 

WASH CLOTH. 

No. 3. This wash cloth is made of Turkish toweling 12" square 
with a Vi" hem held in place with crocheting. San silk, or some coarse 
mercerized thread is used. The initial is worked with the unpadded 
satin stitch. 

WASH CLOTH. 

No. 4. This is a factory made wash cloth edged with crocheting 
of mercerized thread to match the color in the wash cloth. 



31 

WORKING DIRECTIONS FOR WASH CLOTH 

PREPARING MATERIAL. 

If necessary, straighten two adjoining edges (Chap. II, Par. 102) 
of the Turkish toweling by drawing a thread on each of these edges 
and cutting on the lines formed; then from the corner, measure out 
on each edge 12" (the size of the wash cloth before it is hemmed); 
mark each measurement with a pin and draw one thread, forming 
lines, one lengthwise and the other crosswise; cut on these lines. 

TURNING AND BASTING THE HEM. 

A hem has two turnings, the smaller of which turns under the 
raw edge and should be Vs" to ^A" in width, and the wider turning 
which makes the finished hem; it may be any width desired. Allow 
about Vi" for the first turning on the edge of the wash cloth. Turn 
one edge down (even with a thread of the material), toward the side 
of the wash cloth which you may call the wrong side (there is no 
right and wrong side to the Turkish toweling) ; baste with even 
basting about i/4" long (Chap. II, Par. 103), as you turn. On the 
other three sides turn and baste as you have the first side (making 
the basting stitches as even as possible). 

After the first turning of the hem is made around the four 
edges of the cloth, make the second fold in the hem by beginning on 
one edge and folding over the edge of the material again y^" towards 
the same side on which you have already turned the raw edge; baste 
in place carefully with even basting, as you fold. Turn and baste 
the hem on the adjoining side in the same manner, being careful to 
keep the edges even at the corner. Continue turning and basting 
until the hems have been turned and basted on all four edges of 
the wash cloth. 

SEWING THE HEM IN PLACE. 

Sew the hems in place with the hemming stitch (Chap. II, Par. 
114). Using coarse colored thread will give a pretty appearance to 
the wash cloth, and will also enable you to see whether you are 
getting your stitches even. Hem all four sides of the wash cloth. 

You will notice by carefully examining the corner of the wash 
cloth that the ends of the hems are open. These will look neater if 
sewed together with the overhand stitch which is generally used to 
fasten together the ends of hems. You may overhand (Chap. II, Par. 
109) the ends of the four hems. 



32 

DESIGNING AND TRANSFERRING THE INITIAL. 

An initial may be selected from a commercial pattern book and 
:used as a guide in designing your own initial, or the commercial 
-pattern for the initial may be used. If the commercial pattern is 
;used, transfer the first initial as follows: Place it in the position 
.desired with the rough side of the initial down, pin it to the material 
;in two or three places and press it with a hot iron for about one 
minute. After the pattern has been used once it will be necessary to 
use carbon paper to get other copies from it. To do thic, place the 
carbon paper with the carbon side down on the wash cloth, over the 
place where you wish to have the initial, then place the pattern over 
the carbon paper, pin in two or three places to keep it from slipping, 
and trace around the design with a lead pencil. As it is difficult to 
transfer a design onto the rough Turkish toweling, trace around the 
initial several times before removing it. 

If you wish to design your own initial, print it, or write it care- 
fully on a piece of paper first, and submit it to your teacher for 
.correction. It should be from 1" to 2" high and should have the 
width in proper proportion. After the initial is designed, it may be 
copied onto the wash cloth with carbon paper, as directed above, or 
,may simply be drawn freehand on the cloth, using the pattern as 
,a guide. 

WORKING THE INITIAL. 

Remove the pattern and the carbon paper and work the initial 
^with the outline etching stitch (Chap. II, Par. 125). The initial may 
be worked with French knots (Chap. II, Par. 130) or chain stitch 
,(Chap. II, Par. .126). 



33 



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HAND TOWEL 

MATERIALS. 

Crash Toweling. (Chap. I, 
Par. 44). 

V2 yard crash towelinj*. 

41/2" white cotton tape, %" 
or 1/2" wide. 

White thread No. 70. 

Needle No. 8. 



INTRODUCTORY STATEMENT. 

There are a great many different kinds of hand towels, but 
plain or fancy, they are all used for the same general purpose, that 
is, to dry the hands and face. A towel should be made to suit the 
particular purpose for which it is intended. Crash tow^eling is gen- 
erally used for towels which receive hard wear, such as the kitchen 
towel, while huckaback or damask linen is more often selected for 
the finer towels used in the bedroom or bathroom. 

The material suggested for the towel in this lesson has a smooth 
finish that does not leave lint and is used, as a rule, for drying fine 
china and glassware. It is also frequently used for the hand towel 
which hangs on the apron band. It is a particularly suitable material 
for beginning problems in sewing because the stripes serve as a guide 
in turning the hem. 

Although this is the kind of towel generally used in a school 
kitchen, it will also be found verv convenient for home use. 



References: 

LiiK'i), How We Are (>l()ttiecl, Chamberlain. 
Linen, How It Grows, National Flax Fiber Co. 
Linen. .]oiirn;il of Education. \'ol. XLV, p. 177. 



34 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 





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^ 



ROLLER TOWEL. 

No. L This roller towel is made of 2V2 yards of linen crash 

toweling. The raw edges of the towel are joined with a felled seam. 

While the roller towel has been condemned for public use, because 

of its being unsanitary, it is still used for a kitchen towel in many 

'^^"^^^' KITCHEN TOWEL. 

No. 2. This kitchen towel may be made of linen crash toweling, 
1 yard long. The hems on the ends are stitched with the sewing 
machine. The initial is Avorked with the outline etching stitch in a 
color to match the border on the towel. 

HAND TOWEL. 

No. 3. This hand towel may conveniently be made from ^'2 yard 
crash or huckaback. It is to be buttoned on an apron band, or hung 
on a hook in the lavatory or bathroom. The cross-stitch initial is 
worked inside of a cross-stitch wreath. 



35 
WORKING DIRECTIONS FOR HAND TOWEL 

PREPARING MATERIAL. 

Straighten one end of the material by drawing a thread and cut- 
ting on the line (Chap. II, Par. 102). Measure down one of the edges 
18 inches (one-half yard), the length of the towel, and draw a thread. 
Cut on line. 

TO HEM THE TOWEL. 

Tlie narrow overhand hem used on this towel is called the French 
hem (Chap. II, Par. 119); it is the same kind of hem used in finishing 
the ends of table cloths and napkins. Because it is so commonly 
used you should learn to do it well. For the first turning of the hem, 
fold over one end of the tow^el about 14", keeping it even with a 
thread; crease firmly with the thumb. For the second turning of the 
hem fold the same end of the to^vel over again 1/4 " toward the same 
side that you turned the raw edge and crease again firmly. If the 
toweling is very stiff, it will not be necessary to baste this hem in 
place as it will stay creased without the basting, but if it does not 
stay creased well, baste carefully along the edge of the hem with 
even basting (Chap. II, Par. 103). 

Turn the hem thus formed back on the opposite side of the towel 
and crease firmly, making the edge of the hem and a thread in the 
body of the towel lie together in a parallel line. Knot the thread and 
slip the needle through the hem at the beginning, then overhand 
(Chap. II, Par. Ill) the two edges together, being careful to take 
small, shallow stitches. Fasten the thread securely at the end of 
the hem by sewing over the last stitch two or three times. With the 
thumb and forefinger of the left hand, press the hem llat. Overhand 
each of the open ends of the hem. Finish the other end of the towel 
in the same manner. 

SEWING ON THE TAPE. 

As this is a small hand towel, it is supposed to be hung from 
the band of the apron where it will be convenient for use. It is to 
be suspended with a loop of tajie which may be formed and sewed 
on in eitl]er of the following ways: 

FORMING THE LOOP. 

(First Method) 

Take a piece of cotton tape about V4" wide and 4" long. Fold 
over the raw edges at each end about 14", turning them both to the 
same side; then lay the two ends together with the raw edges turned 



36 

under. Lay them on the wrong side of one corner of the towel, 
allowing them to lap over the corner of the towel about V2". Baste 
carefully in place with even basting (Chap. II, Par. 103) being care- 
ful to keep the ends and edges of the tape even. Hem down on one 
side (Chap. II, Par. 114) across the bottom, and up the other side of 
the tapes, fastening them firmly to the towel. To secure the tape to 
the towel at the corner, turn the towel toward you and hem around 
the corner of the towel where it crosses the tape. If desired the tape 
may be secured more firmly to the towel by making two parallel 
rows of backstitching (Chap. II, Par. 107) across the ends. The band 
of the apron is slipped through this loop before being buttoned. 

FORMING THE LOOP. 

(Second Method) 

Fold over the two raw edges of the tape Vi" on each end, turning 
them both toward the same side of the tape. Place the two ends side 
by side( not over each other), making the opposite closed end of the 
tape a V shape. This will make two edges of the tape lie together in 
parallel lines. This line is to form the loop which is to serve as a 
buttonhole, but you will notice that it is longer than necessary to 
receive a button. It also needs to be fastened in order to keep it ir- 
shape. In fastening these two parallel edges of the tape, some space 
must be left for the button. Beginning next to the towel overhand 
the adjoining edges of the tape together about 1/2", then leaving a 
half-inch space unsewed to form the opening for the button, overhand 
the edges together to the top of the V shaped loop; fasten the threads 
carefully and flatten the tapes then hem across the piece of tape that 
forms the wide part of the V. 

To fasten the tape to the towel, lay it on one corner, on the 
wrong side of the towel and with the raw edges turned under, hem it 
down one edge, across the bottom and up the other edge, then turning 
the towel toward you, hem (Chap. II, Par. 114) around the corner 
of the towel. 



37 




HANDKERCHIEF 
CASE 

MATERIALS. 

White, Figured or Plain 
Colored Lawn (Chap. I, 
Par. 23) or 

Dimity (Chap. I, Par. 15). 

1/2 yd. lawn or dimity at 
least 18" wide. 

1^2 yds. lace about %" wide. 

White cardboard, 7 1/2 "x9 1/2". 

White thread No. 70. 

Needle No. 8. 



INTRODUCTORY STATEMENT. 

One of the first things that a girl should learn to do about the 
house is to care for and keep her own room neat and attractive in 
appearance. The dresser drawer, with its ribbons, handkerchiefs, 
and the many little trifles that are necessary in a girl's toilet, is very 
difficult to keep in order. If the different articles are kept in boxes 
or cases it is very much easier to keep them from getting mixed; 
that is, if all the handkerchiefs are kept in a handkerchief case, the 
gloves in a glove box, the hair ribbons or neck ties in another box, 
they can easily be found when desired. 

The handkerchief case suggested in this lesson provides an 
attractive place to keep the handkerchiefs. It may be kept either in 
the drawer or on top of the dresser. If in the latter place, the 
material of which it is made should harmonize with the colors in the 
room; that is, if the paper and the window drapes have any one 
color predominating in them, select material for the handkerchief 
case which will not be out of harmony with that color. 



References : 

Manufacture of Thread, How \Vc Are Clothed, Chamberlain. 

Lace, Goldenberg (Brentano 1904). 

Lace, Its Origin and History, S. L. Goldenberg (X. Y. 1904). 



38 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




HANDKERCHIEF CASE. 

No. 1. This handkerchief case is made of linen crash 7V2"xl3y2" 
(unfolded). The design is worked with the outline etching and satin 
stitches. Lace is sewed around the top fold. It is tied with ribbon. 

HANDKERCHIEF CASE. 

No. 2. This handkerchief case is made of linen crash 13"xl8" 
(unfolded). The long edges are folded to the center and a piece of 
cardboard slipped under each i)Ocket formed. Lace is sewed on all 
the way round, and it is fastened together with ribbon ties. 

HANDKERCHIEF CASE. 

No. 3. This handkerchief case is made of line crash, with end 
llaps. One piece is H"x21" doubled crosswise. The other piece is 
8"xl9" folded lengthwise. The 4"xl9" jjiece (after it is doubled and 
stitched) is placed on the larger piece about 2^2" from one edge and 
stitched on three edges. 

NAPKIN CASE. 

No. 4. Tliis napkin case is made of two pieces of cretonne, each 
15"x22", folded lengthwise. Each piece is stilched sei)arately, then 
the two are made to form a cross and stitched together. 



39 
WORKING DIRECTIONS FOR HANDKERCHIEF CASE 

PREPARING MATERIAL. 

Straighten one short edge of the material by drawing a thread 
and cutting on the line (Chap. II, Par. 102). Straighten one long 
edge of the material in like manner. On the short edge measure out 
16" (the length of the handkerchief case doubled). Draw a thread 
lengthwise and cut on the line. Down the long edge measure out 
18" (the width of the handkerchief case before it is folded); draw a 
thread crosswise and cut on the line. 

PREPARING MATERIAL FOR POCKETS. 

This handkerchief case is to be made double, and after the 
material has been properly sewed together it is to be folded to form 
pockets, then trimmed with lace, as shown in the illustration. As 
the handkerchief case is to be made of a double thickness of the 
material, the first step is to fold the material together lengthwise with 
the right side turned in and the long edges and the ends made exactly 
even. Pin in several places along the open edges to hold them in 
position until they have been basted together. Baste the two ends 
together with uneven basting (Chap. II, Par. 104), using Vl" seam. 

A cardboard lYz'^^V^' is to be placed between the double thick- 
ness of material under the pockets. A space OMi" long must therefore 
be left in the center of the long edge. To do this, baste 4y2" towards 
the center from each corner, leaving a space of ^Y-2," unbasted. Fasten 
the pieces together permanently by sewing along the line of the 
basting with the combination stitch (Chap. II, Par. 108). NOTE: The 
handkerchief case is sewed together ^^Tong side out so the seams will 
be inside w^hen the case is turned. Be careful to fasten the threads 
firmly at each side of the opening where the cardboard is to be 
slipped in, as there will be considerable strain there. The edges of 
the opening are to be finished with a hem turned toward the wrong 
side of the material. Baste with even basting (Chap. II, Par. 103), 
using a narrow first turning, and hem neatly (Chap. II, Par. 114). 
Turn right side out before the ends are folded over to form the 
pockets; the ends are to be finished with lace. Lay the right side of the 
lace on the under side of the handkerchief case on one end and 
overhand the two together along the edge (Chap. II, Par. 112). Sew 
the lace on the other end in the same manner. 



40 

TO FORM THE POCKETS. 

The pockets are to be formed by folding the lace-trimmed ends 
of the handkerchief case to the center. To do this, first, find the 
center by folding the two ends of the case together and creasing 
sharply with the thumb nail on the fold; then open and lay the edges 
of the lace even with this crease so they will just meet in the center. 
Crease the fold made at each end. Baste along the edges of the 
pockets fastening them to the under side of the handerchief case with 
uneven basting or tacking (Chap. II, Par. 104 or 105). 

TO TRIM WITH LACE. 

Overhand the lace (Chap. II, Par. 112) entirely around the outside 
edges of the handkerchief case gathering it neatly at the corners. 
NOTE: Be sure to catch both thicknesses of the material along the 
sides of the pockets so as to hold them in place, but where the open 
Ing is left for the cardboard the overhanding stitches should catch 
only the top layer of material. Remove the bastings. 

TO FINISH THE BOTTOM. 

Cut a piece of white cardboard 7^2 "x9y2 ", Slip it into the open- 
ing left for it in the handkerchief case. 

ANOTHER METHOD OF FORMING THE POCKETS. 

The pockets may be left loose and held in place by a ribbon 
fastened in the center of the under side of the case. To do this, sew 
the lace all the way around the outside edges of the case before 
folding the pockets, being careful to sew it to the upper edge only of 
the space which is left open for the cardboard. 



41 




SEWING APRON 

MATERIALS. 
Batiste (Chap. I, Par. 2). 

V2 yd. batiste or any soft, 
plain colored material. 

IVa yds. ribbon. 

San silk or mercerized em- 
broidery cotton. 

Needle No. 8. 



INTRODUCTORY STATEMENT. r 

Since laundering handmade articles, particularly if they are 
decorated with handwork, frequently destroys much of their attrac- 
tive appearance, it is desirable to keep them as clean as possible 
during the making so as to avoid laundering. In order to do this it 
is necessary not only to wash ones hands frequently, but to protect 
the article from any dust that may cling to ones clothing. 

A small apron answers this purpose very well and as there is 
very little strain on it and it is not subject to any hard use, it may be 
made as dainty as one desires. There are a great many styles and 
designs of sewing aprons, but one with a pocket in which to keep 
thimble, needle and thread is especially desirable. 

The apron presented in this lesson is made as simple as possible. 
It is not set on a band but merely has a hem at the top through which 
a ribbon may be run. While it does not present any of the difficulties 
of a more complicated apron, it will be found very satisfactory^ for 
the service for which it is intended. 



References : 



Sewing Apron, Library of Work and Pkiy, Vol. VII. 
The Story of Shears, Wiss Bros., Newark, X. J. 
Maiuifacturc of Thimbles, Scovillc Mfg. Co. 



42 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




COMBINATION SEWING APRON AND BAG. 

No. 1. This project may be made of ^4 yard of toweling. The 
pocket is 10 V2" deep. Two pieces of ribbon, or tape, serve as draw 
strings and ties. The bib of the apron is tucked inside of the bag 
when not in use. ^^^^^^ ^^^^^^^^. ^^^^^ 

No. 2. A sewing apron may be made of lawn % yard long and 
22 " wide. Pattern should be drawn freehand. A casing for a ribbon 
band is hemmed onto the apron at the waist line. 

WHITE LAWN SEWING APRON. 

No. 3. This sewing apron is made of white lawn with 2 " hems 
on each side and at the bottom. The two bottom corners are turned 
up to form pockets. The lace is overhanded together down the center 
of the pocket. i^anCY SEWING APRON. 

No. 4. A fancy sewing apron may be made of white lawn, with 
scalloped edge and embroidered dots worked in a delicate color with 
strings and rosettes made of ribbon. 



43 

WORKING DIRECTIONS FOR SEWING APRON 

PREPARING MATERIAL. 

The apron in this lesson may be made crosswise of the material. 
This will bring a selvage on the hem at the top of the apron and also 
at the top of the pocket; as a selvage usually draws the edge of the 
material when laundered, trim it olf. Straighten one long edge of 
the material by drawing a thread and cutting on the line (Chap. II, 
Par. 102); from this line measure out 18" (half a yard), the width of 
the apron, and draw a thread; cut on the line. 

TO FINISH THE EDGES. 

Measure down from the top of the apron 9V2" to the place where 
the top of the pociiet will come, on one long edge. Mark with a pin. 
On this long edge turn a V2" hem with a narrow first turning toward 
the under side of the apron and crease firmly in place. Where the 
pin is placed, make a cut across the hem and turn the edge over 
in a hem tow'ard the upper or right side of the apron the rest of the 
way to the bottom (this part of the hem will be inside the pocket 
Avhen made). In this apron the basting thread is used as a trimming 
for the apron and should be of a color that will contrast nicely with 
the material used and each stitch should be made as nearly perfect 
as possible. Baste the hem in place with even basting (Chap. II, 
Par. 103) with thread to match the material in the apron. Finish 
the opposite edge of the apron in the same manner. The cross-stitch 
Chap. II, Par. 124) or catch stitch (Chap. II, Par. 120) may be used 
instead of the basting to trim the apron. 

TO FINISH THE TOP END. 

As you will notice by looking at the illustration, this apron has 
no band, but is held in place with a ribbon which is run through a 
casing formed by a hem at the top of the apron. To prepare this 
casing turn a hem with a narrow first turning 1" toward the wrong 
side. Crease carefully and pin crosswise at each end to keep from 
slipping. Baste in place with even basting (Chap. II, Par. 103) and 
hem (Chap II, Par. 114) neatly. Remove bastings. 

TO FINISH THE BOTTOM OF THE APRON. 

A hem at the bottom of the material finishes the top of the i^ocket. 
(The material is to be turned up to form the pocket.) In order to 
have this hem inside of the pocket when the pocket is folded in 



44 

place, the hem must be turned toward the right side of the material. 
Fold hem about ^ V' wide with a narrow first turning, baste carefully 
in place with even basting (Chap. II, Par. 103) and hem neatly (Chap. 
II, Par. 114). Remove bastings. 

The hem may be finished on the right side with featherstitching 
(Chap. II, Par. 121) or cross-stitching (Chap. II, Par. 124). 

TO FORM THE POCKETS OF THE APRON. 

The pockets should be about half as deep as the apron, but the 
depth may be varied according to the taste of the one making the 
apron. This must be decided when the hem is made down the 
edge of the apron as the pocket must extend up to the place where 
the hem is turned toward the under side. The pocket in the illustra- 
tion is made 8y2" deep. To form the pocket fold the bottom edge 
of the material 8V2" up on the right side and pin in several places, 
being careful that both edges are even. Baste the pockets and the 
under side of the apron together with even basting (Chap. II, Par. 103) 
and overhand them together (Chap. II, Par. 109). Fasten the thread 
very securely at the top, where it will be subjected to considerable 
strain. 

A line of stitches is made up and down the center of this pocket, 
dividing it into two parts. To find the center, lay the opposite edges 
of the apron together and make a sharp crease on the fold with the 
thumb nail. Mark this crease with a basting thread, then backstitch 
(Chap. II, Par. 107) up the crease, to form the two pockets. (If you 
have used cross-stitching or featherstitching to finish the hems on 
the apron, use a corresponding stitch to divide the pockets). Fasten 
the stitches very securely at the top. 

Run the ribbon through the hem at the top of the apron, making 
the ends extend evenly. In the center, on the under side of the hem, 
take two or three backstitches through the ribbon. This will keep 
the ribbon from slipping out of place. Cotton tape or mercerized 
dress braid can be substituted for the ribbon, or a 1" band may be 
made from the material by doubling under and stitchmg, or over- 
handing together (Chap. II, Par. 100) the edges of a strip about 2y2" 
wide and long enough to reach around the waist; it may be fastened 
with a hook and eye (Chap. II, Par. 133). 



45 




BOOK COVER 

MATERIALS. 

Butcher's Linen (Chap. I, Par. 42). 
Linen Crash (Chap. I, Par. 44). 

1 piece ol linen 1" longer than length 
of book and 8" wider than twice the 
width of the book to be covered, meas- 
uring from the edge of the book to the 
middle of the back binding. 

Colored embroidery lloss with Crewel or 
embroidery needle to correspond. 

White thread No. 70. 

Needle No. 8. 



INTRODUCTORY STATEMENT. 

Everyone loves a nicely bound book, but the hard use to which 
books are sometimes placed, oftentimes destroys the beauty of the 
binding. A book that is used constantly may be protected by some 
sort of cover, either cloth or tough paper. Books which are carried 
back and forth to school and exposed to different kinds of weather 
may be made to last very much longer and retain their newness if 
properly covered. 

The book cover presented in this lesson is made of cloth and may 
be constructed to fit any size book, the book of course being meas- 
ured before the project is begun. When such a book cover be- 
comes soiled it may be easily removed and washed. 



References : 



I'cokbindii-.K, in Printing ;(iul Writing Materials. A. M. Smith. 
New IntcriKitional Encyelojiaedia, \'ol. Ill, pp. 224-226. 



46 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




COVER FOR STORY BOOK. 

No. 1. This book cover is made ot linen crasli to fit a book 
entitled, "The Story of the Three Bears." An original design is 
transferred with carbon paper and worked with the outline etching 
stitch in brown and dark green. 

COVER FOR COOKBOOK. 

No. 2. This book cover is made of white linen, or Indian head to 
fit a cookbook. The design is worked with the outline etching stitch. 
White oil cloth also makes a suitable cover for a cookbook. 

BOOK COVER FOR CHRISTMAS. 

No. 3. This book cover is made of linen crash to fit a book used 
as a Christmas gift, the season being indicated by the holly, blue 
birds, and Christmas wishes. 

BOOK COVER FOR TEXTBOOK. 
No. 4. This book cover is made to fit a textbook on manual 
training. The design on the front cover of the book was copied by 
laying Ihin white paper over the cover and tracing the design on 
the paper, then transferring it to the book cover with carbon paper. 
It is worked with brown embroidery cotton using the outline etching 
stitch. 



47 
WORKING DIRECTIONS FOR BOOK COVER 

PREPARING MATERIAL. 

If necessary straighten Ihe shorter edge of the material (Chap. II, 
Par. 102). Straighten the adjoining edge of the material in like 
manner. If either edge is a selvage trim off about V^" of it to keep 
the edge from puckering when laundered. . 

The size of the book cover will depend on the size of the book 
which you Vvish to cover. The length of the book cover should be 
1" more than the length of the book. This will allow for two Vk" 
hems with Vi " turnings. The flaps should be wide enough to hold the 
cover securely in its place on the book. Three to 3V2 is a good 
width for a moderate sized book cover. The width of the book cover 
should be twice the width of the book from the edge of the cover 
to the middle of the back binding plus 7^2" for the two flaps and hems. 

Measure out on the short edge of the material the length of the 
book cover; draw a thread lengthwise and cut on the line. Measure 
down the long edge the dimension for the width of the book cover 
and draw a thread crosswise; cut on the line. 

TO FINISH THE LONG EDGES. 

The long edges of the book cover should be finished with hems 
before the flaps are turned, so they will lap under properly when the 
flaps are made to receive the cover of the book. On one edge make 
a hem i/4" wide with a I/4" first turning creasing it carefully on a 
thread. Baste with even basting (Chap. II, Par. 103). Try the cover 
on the book to see whether the V4," hem allowed on the other side will 
make it just the right size. The other hem should be just the same 
width as the first one; if there is extra material there, trim it off even 
with a thread. Make the hem on the second edge in the same manner 
as the first. 

TO MAKE THE FLAP. 

The raw edge on the end of the flap might be finished with a plain 
hem 1/4" to 1" deep, but a hemstitched hem is more attractive, so it 
lias been used in the cover shown in the illustration. It is to be ^V' 
wide. Fold, pin crosswise, baste and single hemstitch in place (Chap. 
II, Par. 11.")). Prepare the opposite end in the same way. 

To finish the first flap, fold the end of the cloth over 3" onto the 
wrong side of the material. Baste with even basting (Chap. II, Par. 



48 

103), and overhand (Chap. IT, Par. 109) the ends onto the body of 
the book cover. Prepare the other flap in the same manner. 

THE DESIGN. 

The initial to be placed on the book cover may be designed in the 
drawing class, or a commercial pattern may be used. The initial 
designed should be simple in form for it requires considerable prac- 
tice to work an elaborate initial. 

If a commercial pattern is used, transfer the initial by laying it 
rough side dov^n in the proper place on the book cover and pressing 
it with a hot iron. To use the carbon paper, pin a piece a trille larger 
than the letter in the place desired, place the initial over it and trace 
around it with a lead pencil. Remove the pattern and carbon paper. 

TO WORK THE INITIAL. 

The initial is to be worked with the satin stitch (Chap. II, Par. 
131). Use embroidery cotton that will harmonize or contrast nicely 
in color and fineness with the material. The padding for the satin 
stitch may be done with embroidery cotton of appropriate color. 




49 




BUTTON BAG 

MATERIALS. 

Linen Crash (Chap. I, Par. 
44). 

Gingham (Chap. I, Par. 19). 

1 piece linen crash or 
checked gingham 9" wide, 
22" long. 

Embroidery floss or san silk 
(colored) with embroid- 
ery needle to correspond. 

Thread No. 70. 

Needle No. 8. 



INTRODUCTORY STATEMENT. 

Some place in which to keep the collection of buttons of various 
sorts is a necessity in every household. Buttons may be cut from 
worn out or discarded garments and kept in this receptacle lor fu- 
ture use. 

The design and shape of a button bag is not important, as its 
principal purpose is for convenience. It may be desirable to make 
it rather large with several compartments so as to provide suitable 
places in which to keep different kinds of buttons. 

As this bag is made for service it should be of some strong, sub- 
stantial material. It is not intended to be a piece of art needlework, 
it should, however, be neatly made for no project however simple 
should ever be carelessly done. 



References: 

Manufacture of Buttons, The Great Industries of the United States. 
Story of the Making of Buttons, How Wc Are Clothed, Chamberlain. 



50 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




BUTTON BAG. 

No. 1. This bag is made of gingham. The freehand design was 
transferred with carbon paper, worked with the outline etching stitch 
and trimmed with buttons and beads. 

CROCHET BAG. 

No. 2. This bag is made of ribbon, with narrow pleats feather- 
si itched on each side, to make a strip to hang over the wrist. A 
pocket for the crochet cotton is formed by sewing the ends together. 



No. 3. 
as No. 1. 



MARBLE BAG. 

This marble bag is made of linen crash in the same way 



BUTTON BAG. 

No. 4. This bag is made from a circular piece of gingham, 
hemmed around the edge. Two strips 12" long and 4" wide are 
stitched on in the shape of a cross in the center of the inside of the 
bag; the open ends form pockets. It is closed with cotton tape drawn 
through eight brass rings sewed on the edge of the bag. 



51 
WORKING DIRECTIONS FOR BUTTON BAG 

PREPARING MATERIAL. 

Straighten two adjoining edges of the material (Chaj). II, Par. 
102). On the shorter edge measure out 8" (the width of the bag), 
draw a thread lengthwise and cut on the line drawn. On one long 
edge, measure down 20" (twice the length of the bag plus the hems at 
the top). Draw a thread and cut on the line. 

TO FINISH THE LONG EDGES. 

This bag is to be joined on the edges with an overhand seam 
(Chap. II, Par. 110). The raw edges of the seams are to be turned 
under and hemmed dow^n to make neat seams inside the bag. On one 
of the long edges of the material fold a hem about ^4" wide with a 
narrow even first turning. Baste with even basting (Chap. II, Par. 
103) and hem neatly (Chap. II, Par. 114). Finish the opposite edge 
in like manner. 

TO MAKE THE HEMS ON THE ENDS. 

(These hems must be made before the bag is sewed up). On 
one end of the material fold a hem 1^/4" wide with a narrow first 
turning. Baste with even basting (Chap. II, Par. 103) and sew neatly 
in place with a hemming stitch (Chap. II, Par. 114). 

A space must be provided in this hem through which to slip 
the draw string. To do this, make a row of running stitches the full 
length of the hem (about %" from the edge). Finish the other end 
of the material in the same manner. The design should be placed 
on the bag before sewing up the seams. 

MAKING AND TRANSFERRING THE DESIGN. 

It is very desirable to have an original design worked out in 
the drawing class. To transfer the design to the bag, first fold the 
ends of the bag over as you would if you were going to sew the edges 
together. Next lay a piece of carbon paper just a trifle larger than 
the design, carbon side down on the bag, in the position which you 
think is best suited for the design. Place the design on this and pin 
it to the bag in several places to keep it from slipping. Trace around 
the design with a lead pencil. Remove pattern and carbon paper from 
the bag and work the design with the outline etching stitch (Chap. 
II, Par. 125). 



52 

TO FINISH thp: seams on the bag. 

As overhand seams are frequently sewed together on the right 
side, you may lay the wrong sides of the material together making all 
the edges even. As it is necessary to leave the casings in the hem 
open at the ends for the draw string, you may begin at the hemming 
stitches on the lower edge of the end hems and baste the hemmed 
edges together with even basting stitches (Chap. II, Par. 103). Then 
overhand the basted edges making an overhand seam on each edge 
of the bag (Chap. II, Par. 110). 

PUTTING IN THE DRAW STRING. 

There should be two draw strings of ribbon or tape about V^" 
wide, each one being cut 6 " longer than twice the width of the bag. 
With a bodkin or hair pin, fastened to the end of one of the strings 
draw it through the casing around both sides of the bag, bringing the 
end through until it meets the other end. Tie the two ends in a bow 
knot as shown in the illustration. 

Starting the other string through one of the openings in the op- 
posite end of the casing, draw it through the casing around both 
sides of the bag in the opposite direction from the way the first tape 
was drawn, pull it through until both ends are even, just as you did 
with the first, then tie the ends in a bowknot. 

If desired the raw edges on the ends of the tape may be notched, 
cut diagonally, or hemmed with V^" hems (Chap. II, Par. 114). 




53 




HAIR RECEIVER 

MATERIALS. 
Cretonne (Chap. I, Par. 12). 

1 piece of cretonne 7"xl4". 

1 piece of featherbone 9" 
long. 

San silk or embroidery cot- 
ton to harmonize with the 
cretonne. 

2 small rings. 

1 crewel or embroidery 
needle to correspond. 

Thread No. 70. 

Needle No. 8. 



INTRODUCTORY STATEMENT. 

Every girl should learn to keep her room as neat, clean and at- 
tractive as possible. It may not be Curnished with fine furniture, but 
it should be well kept. Nothing adds to the charm of a girl's room 
more than to have it properly supplied with little conveniences of her 
own make. 

A very useful accessory to a girl's dresser or dressing table is a 
hair receiver, as there is nothing more unsightly than a comb filled 
with hair or bunches of hair lying about. 

The hair receiver aJTords an opportunity for a girl to show her 
skill and good taste; many designs have been worked out some of 
which are suggested on the next page. Whatever design is used 
should be neatly made and rather decorative in appearance. 

The hair receiver presented in this lesson is very simple and will 
not be at all difTicult. It is provided with a cord so that it may be 
hung near the dresser or on one of the supports that holds the mirror. 



References: 



Embroideries and Their Stitclies. Buttericlc Publishing Co., X. Y. 
Embroidery, W. G. Tnwnsend. Trustnii, London. 



54 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




HANDKERCHIEF HAIR RECEIVER. 
No. 1. This hair receiver is made from a bordered handkerchief. 
An embroidery hoop is placed under the points of the four corners, 
the body of the handkerchief is pushed down inside to form a bag; 
it is gathered around the hoop. 

CORNUCOPIA HAIR RECEIVER. 
No. 2. This hair receiver is made from white Indian head or 
linen, hemmed around the edges, embroidered, starched in cold 
starch, ironed, fastened together at the top and bottom and hung 
with loops of ribbon. 

EMBROIDERED HAIR RECEIVER. 

No. 3. This hair receiver is made from white linen, scalloped and 
embroidered with the satin stitch. It is held together ^^ith ribbon 
laced through eyelets, and held open at the top with featherbone. The 
baby ribbon provides a hanger and part of the decoration. 

LAWN HAIR RECEIVER. 

No. 4. This hair receiver is made from white lawn with tlaps 
similar in shape to the bottom of the bag. The top is held open with 
featherbone. The bag is suspended with baby ribbon finished at the 
ends with rosettes. 



55 

WORKING DIRECTIONS FOR HAIR RECEIVER 

PREPARING MATERIAL. 

Straighten the short edges of the material (Chap. II, Par. 102). 
TTie curves at the bottom of the hair receiver may be drawn free- 
hand on the material, which should be folded crosswise, but it would 
possibly be safer to draw a pattern on paper and use that as a guide 
in cutting out the hair receiver. 

TO MAKE THE PATTERN. 

Cut a piece of paper about 6" square; fold two edges together 
evenl3^ This makes the folded paper half the width of the receiver. 
As the top of the receiver is to be straight, do not change the top edge 
of the pattern, but at the bottom from the folded edge cut oil" the 
outside open corners in a graceful curve as shown in the illustration 
on the front page. 

TO CUT OUT THE HAIR RECEIVER. 

Open the pattern and lay it on the double thickness of the goods 
with the wrong side out; make the top exactly even with the straight- 
ened edges of the material. To keep the pattern from slipping, pin 
it to the goods at each corner of the top and at the bottom, then care- 
fully cut out the hair receiver; cut through both thicknesses of 
material. Remove the pattern. 

TO MAKE THE SEAMS. 

The curved edges of the two pieces that are to form the hair 
receiver are to be joined with an overcast seam. To make the seam, 
first pin the material together (wrong side out) in two or three 
places to keep it from slipping, then follow directions for an overcast 
seam (Chap. II, Par. 140), sewing the seam with the backstitch (Chap. 
II, Par. 107), or combination stitch (Chap. II, Par. 108). Trim off the 
ravelings and overcast the seams neatly (Chap. II, Par. 113). 

TO FINISH THE TOP. . 

As the cloth is to be gathered slightly on featherbone Vs" vnde 
which is run through a hem in the top of the hair receiver, make the 
hem Vi" wide, with a narrow first turning turned toward the wrong 
side; baste (Chap. II, Par. 103), and hem it in place (Chap. II, Par. 
114). As the featherbone is inserted after the hem is made, it will 
be necessary to leave a space of about ^2" unsewed in the edge of the 



56 

hem, preferably near one of the seams. After the hem is completed, 
turn the hair receiver right side out. 

Single featherstitching (Chap. II, Par. 121) may be used to finish 
the hem on the right side if desired. If it is used, omit the hemming 
stitches. 

TO FINISH CURVED EDGE. 

Single featherstitching (Chap. II, Par. 121) is used around the 
curved edge of the hair receiver. Special care will be required to 
make the featherstitching perfectly even on the curved edge. 

TO PUT IN THE FEATHERBONE. 

As featherbone is rough at the cut end, it is very difficult to run 
this through a hem without having it covered with a small piece of 
cotton cloth. To do this, take a strip of the cretonne V2" wide and 1" 
long, double it over the end of the featherbone and fold it around 
it; sew in place with the overcasting stitch (Chap. II, Par. 113), 
sewing through the featherbone with each stitch. After the end of 
the featherbone is covered push it through the casing, or hem, at the 
top of the receiver. Gather the material in the hair receiver slightly 
on the featherbone, as shown in the illustration. Fasten the two ends 
of the featherbone by overlapping them about Y2", then sewing 
through and through them until they are securely fastened together. 
Wrap the thread around the joint several times to keep it from making 
a bulge in the hem; fasten the thread securely. (Cut off any extra 
featherbone). The opening may be hemmed down. 

TO PUT ON THE HANGER. 

Sew an ivory ring on the top end of each seam. The bag may be 
suspended with white cord or ribbon the ends of which are simply 
tied at each end in a bowknot. 



57 




HOLDER 

MATERIALS. 

Chambray (Chap. I, Par. 9) 
or 

Gingham (Chap. I, Par. 19). 

Outing Flannel (Chap. I, 
Par. 30). 

1 piece chambray or ging- 
ham 10"x27". 

1 piece outing flannel 9"xl4". 

1 yard % " cotton tape. 

Thread No. 70. 

Needle No. 8. 



INTRODUCTORY STATEMENT. 

In lifting hot utensils it is very desirable to have a holder. As 
the purpose of the holder is to protect the hands from the heat, it 
should be made thick enough to keep the heat from penetrating it 
quickly. P'or this reason it is always interlined or made of several 
thicknesses of material. It is often quilted with parallel rows of 
machine stitching to keep the layers of material from slipping. 

The interlining is sometimes made separate from the cover and 
removed when the cover is washed. Odd pieces of percale, gingham 
or similar material left over in making dresses may be used in 
making holders. 

The holder in this lesson is made with an interlining and has a 
tape with which to suspend it from the apron band. 



References: 



The Making of Thread, The Great Industries of the L'nited States. 
Handicraft for Girls, MeGlaiiflin. Manual Arts Press. 



58 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




SQUARE HOLDER. 

No. 1. This holder is made by covering Iwo thicknesses of out- 
ing flannel with denim or percale. A tape or ring with which to hang 
it on a hook is sewed in one corner. 

ENVELOPE-SHAPED HOLDER. 

No. 2. This holder is made by making an envelope of percale 
or denim 9" square. It has a double thickness of outing flannel to 
pad the inside. The flap is held shut by a button or snap. 

ROUND HOLDER. 

No. 3. This holder is made by basting two thicknesses of outing 
flannel between two covers of percale or denim, then finishing the 
edges with mercerized dress braid which is stitched on with the 
sewing machine, or hemmed on by hand. 

"CHICKEN" IRON HOLDER. 

No. 4. I'^or this holder two chicken-shaped pieces are made of 
percale and stuflcd wilh cotton batting to give them a rounded appear- 
ance. They are overhanded together along their backs so as to sit 
like a saddle on the iron handle. 



59 
WORKING DIRECTIONS FOR HOLDER 

PREPARING MATERIAL FOR COVER. 

Straighten one short edge of the material (Chap. II, Par. 102). 
(If the edge is selvage, trim it of!" to prevent puckering when laun- 
dered). Straighten an adjoining edge of the material in the same 
manner. Measure out on the short edge 81/2" the width of the holder. 
Draw a thread lengthwise and cut on the line. Measure down on the 
long edge 27", twice the length of the holder, plus the width of the 
hems. Draw- a thread crosswise and cut on the line. 

MAKING THE OUTSIDE. 

As you will notice in the illustration for this lesson, a pocket 
is formed on each end by folding the ends of the material to the 
center. Before folding the pockets, the hems should be made on the 
ends of the material. Fold a %" hem with a ^A" first turning on 
one end of the material, baste with even basting (Chap. II, Par. 108), 
keeping it even with the thread; sew in place with the hemming 
stitch (Chap. II, Par. 114). If desired, you may turn the hem away 
from you and with the right side of the material toward you, finish 
the edge of the hem on the right side with catch stitching (Chap. II, 
Par, 120), featherstitching (Chap, II, Par. 121) or backstitching (Chap, 
II, Par. 107). Make a hem on the opposite end in the same way, 
being careful to turn it to the same side of the material. 

Find the center by folding the two ends together exactly even; 
crease along the fold with the thumb nail. Open the material and 
with the hems turned outside, fold the two ends over to this center 
crease (be sure to have the raw edges even). 

Baste the raw edges together with uneven basting (Chap. II, Par. 
104); sew them together with the combination stitch (Chap. II, Par. 
108). Overcast (Chap. II, Par. 113) the raw edges, remove the basting 
and turn right side out. 

TO PREPARE THE INSIDE. 

The outing flannel padding should be made the required size to lit 
inside of the cover. To do this, straighten one of the shorter edges 
(Chap. II, Par. 102). Straighten an adjoining edge in the same man- 
ner. Measure out on the shorter edge 8" (the width of the inside of 
the holder). Draw a thread crosswise and cut on the line. Measure 
down on the long edge 12^ j" (the length of the inside of the holder). 
Draw a thread lengthwise and cut on the line. 



60 

As the padding is made separate from the outside of the holder, 
the edges of the outing flannel should be finished in some way to keep 
them from raveling. This may be done with overcasting (Chap. II, 
Par. 113), or blanket stitching (Chap. II, Par. 128); or two thicknesses 
of material may be used, turning in the edges and overhanding them 
together (Chap. II, Par. 109). 

TO SEW ON THE TAPE. 

If the holder is to be hung on an apron band the tape should be 
long enough to let it come to the bottom of the apron, from 27 " to 
36". To sew on the tape, first turn in the raw edge at one end and 
place it at the center of the back of the holder near the edge where 
the ends of the pockets join as shown in illustration. Turn under 
the raw edge and place it so it overlaps the holder about ^12". Hem 
the tape on the holder down one edge, across the bottom, and up the 
other edge, being careful that the stitches do not run through to the 
pockets. 

The other end of the tape which is to be suspended from the 
apron band, is finished with a loop. To make this, fold the raw edge 
over 2" onto the tape. Turn it in and hem it in place. Overhand the 
double fold together about V^" up from the hemming stitches and 
backstitch (Chap. II, Par. 107) across it; then overhand down to the 
hemming stitches (Chap. II, Par. 109). 




61 




CHILD'S BIB 

MATERIALS. 

Huckaback (Chap. I, Par. 
20 or 47). 

1 piece of huckaback 12"xl4". 

Embroidery iloss (color de- 
sired) crewel or embroid- 
ery needle to correspond. 

2 buttons. 
Thread No. 50. 
Needle No. {^. 



INTRODUCTORY STATEMENT. 

A bib is very necessary to protect the dress of a child when eating. 

The material used in making the bib should be washable and 
heavy enough to prevent moisture from penetrating quickly. Turkish 
toweling, huckaback, linen, or any smooth finished, firm, wash ma- 
terial will be satisfactory. 

Frequently a design that will attract a child's attention is selected 
to ornament the bib. A bib is very practical because it can be re- 
moved and washed much more easily than a dress. It is usually 
fastened around the neck with ties made of white tape or of wash- 
able ribbon. Buttons and buttonholes are often used. 

Where buttons and buttonholes are used as in this lesson, the 
bib must be fitted more carefully to the neck than would be required 
if lies were used. 



References : 

Home and School Sewing, Frances Pafton. Xewson Co., N. Y. 
Flax, I'. S. Farmers' Bulletin No. 669. 



G2 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




CHILD'S BIB. 
No. 1. This bib is made of Turkish toweling. The hem is 
basted toward the wTong side and single ieatherstitched in place with 
rather coarse, mercerized embroidery cotton. The design is drawn 
on the cloth freehand and worked in outline etching stitch. 

CHILD'S BIB. 
No. 2. This bib was purchased with the figures stamped. The 
edge was finished with a plain hem on the wrong side and the figures 
outlined with the etching stitch. 

CHILD'S KIMONO BIB. 
No. 3. This bib is cut from a child's kimono apron pattern, it 
is about 5" long in the back and 16" long in front. It is finished with 
a plain hem around the edge; the sleeves are tied together with ribbon. 

CHILD'S BIB. 
No. 4. This bib is made from huckaback. Any bib pattern may 
be used and a freehand design may be transferred onto the bib with 
carbon paper. The edge is finished with a narrow hem and rick- 
rack braid. 



63 

WORKING DIRECTIONS FOR CHILD'S BIB 
PREPARING MATERIAL. 

A coniniercial pattern may be used lor this bib, or a freehand 
pattern may be made as follows: 

TO DRAFT THE PATTERN. 

Use a rectangular piece of wrapping paper 10" wide and 13" 
long. Fold the paper lengthwise in the center. 

( 1) From the top corner of the fold measure down 6" (the depth 
of the neck), place a dot and number it 1. 

(2) To lay out the width of the back of the bib, measure out 
from the top corner of the fold 3%" on the unfolded edge of the 
paper, place a dot and number it 2. 

(3) To get the proper slant for the opening at the back of the 
bib, measure down from the same corner 2" on the fold; number 
this 3. Connect 3 and 2 with a straight line. 

(4) To locate curve for the back of the neck measure up from 
dot 3 on this slanting line P/i". Place a dot and number it 4. 

(5) To aid in drawing the curve for the neck, measure down 
from dot 3 on the fold 2y2"; place a dot and measure out from the 
fold 21/4"; place a dot; number the dot 5. Connect dots 1, 5 and 4 
with a continuous curved line. 

To Round Corners: 

(6) From the upper corner of the unfolded edge of the paper 
measure down 3" and place a dot and number it 6. Connect 6 and 2 
with an outward curved line. 

(7) To round the corners of the bottom of the bib, measure up 
2" from the bottom corner of the unfolded edge of the paper and 
place a dot. From the same corner, measure out 1" on the bottom 
edge and place a dot. Connect the two dots with an outward curved 
line. Cut on all the lines drawn. 

To Design the Scallops: 

(8) To make the scallops around the edge of the pattern, keep 
it folded and draw a line Vi" from the edge of the pattern all the way 
around. Lay a penny, or circular piece of cardboard that size, 6n 
the fold at the bottom of the pattern and draw a line around the 
lower edge of the penny, making it touch the bottom of the pattern 
and come just to the parallel line above it. Lift the penny and place 



64 

it so a line drawn around the lower edge will touch the bottom of 
the pattern and cross the parallel line in two places, one end touching 
the end of the first scallop. Draw the curved line. Repeat all the 
way around on the outside edge of the folded pattern as shown in 
the illustration. Adjust the last notches to make them neat and even. 
Use a half dollar or a piece of cardboard that size and lay out the 
top curve of each scallop. Cut out the pattern around the bottom 
"Age of the scallops. 

TO CUT OUT THE BIB. 

Fold the material lengthwise in the center, lay the center fold 
of the pattern on the fold of the material. Pin in two or three places 
to keep the pattern from slipping. Cut around the neck and mark 
around the scallops, but do not cut them out until after they are 
embroidered and the bib is laundered. 

TO FINISH THE NECK. 

The neck is bound with bias tape. Use %" commercial bias tape, 
Avhich is already folded, or cut bias strips (Chap. II, Par. 143) making 
them %" wide. Turning the seam towards the wrong side, baste 
one edge around the curve in the neck with even basting (Chap. 11, 
Par. 103), then sew it on with the combination stitch (Chap. II, Par. 
108). Turn the facing or binding, back toward the wrong side and 
turn under the raw edge, making the facing even. Basle carefully 
in place, then hem in place. 

Fold, baste and sew in place with running stitches a hem one-half 
inch wide on each edge of the opening at the back of the bib. 

Cut and work two buttonholes (Chap. II, Par. 136) crosswise of 
the hem in the right hand edge of the opening and sew^ on the buttons 
to correspond (Chap. II, Par. 185). 

WORKING THE SCALLOPS AND THE DESIGN. 

Work the scallops with blanket stitch (Chap. II, Par. 128), plac- 
ing the stitches close together. If the edge of the material is not cut 
away until after the bib is laundered the edge will not fray. 

Lay out and work the design with the outline etching stitch 
(Chap. II, Par. 125), using the same kind of thread used in making 
the scallops. 



65 
REVIEW QUESTIONS AND PROBLEMS. 

1. How would you straighten the edge of a piece of doth? 

2. How would you make a line on a piece of cloth in order to 
cut it perfectly straight? Why could you not use a ruler and lead 
pencil and rule a straight line as you would on a piece of paper? 

3. What sort of material is most suitable for the leaves of a 
needlebook? Explain why. 

4. What is the most common use of the basting stitch? For 
what other purpose have you seen it used? 

5. For what purpose is the blanket stitch used? Has it any 
other use? 

6. What is a hem, and why is the exposed edge of a piece of 
material usually hemmed? 

7. Why do we baste a hem before hemming it down? 

8. Explain how to sew on a loop. Name some home projects in 
which you would use a loop of tape. 

9. Why is a handkerchief case particularly serviceable? Give 
at least three reasons why such a case is practicable. 

10. How is the running stitch made? 

11. Name two or three useful home projects in which the run- 
ning stitch would be used. Explain. 

12. How is overhanding done? In what projects have j'ou used 
this process? 

13. What are some of the most important things to think about 
in designing a sewing apron? 

14. What is the purpose of cross-stitching? Name three or four 
home projects upon which this stitch could appropriately be used. 

15. How many ways have you learned for working an initial? 
Which do you like best? Explain why. 

16. What is the purpose of a draw string? What preparation 
is necessary where a draw string is to be used? 

17. Name three or four home projects in which a draw string 
is used. 

18. What is an outline etching stitch? How is it made? 

19. Name all the stitches which you have used thus far for 
decoration. 

20. What things have you learned from this section that you 
can use on your own clothing? 



66 
SUGGESTIONS FOR HOME APPLICATION. 

1. When needles are removed from the paper at home, notice 
where your mother keeps them. Perhaps they are kept in a pin 
cushion. Make a pin cushion out of some art canvas or other loosely 
w^oven material using stitches to decorate the top, similar to those 
used on the bookmark, or napkin ring shown in this section. 

2. Observe the hand towels at home. How are they made? 
Why are most of them longer than the towel given in lesson two? 
What advantages can you see in hemming kitchen towels on the 
sewing machine? Talk to your mother about this. Ask her to let 
you make the next towels that are needed at home. 

3. Notice the hems on the sheets at home. Why is it more prac- 
tical to stitch these hems on the sewing machine than to hem them 
by hand? Ask your mother why the top hem is usually made wider 
than the bottom hem. Why are there no hems on the sides of sheets? 
If the hem is handmade what kind of stitches do you usually find 
used? Perhaps you can find a sheet with a seam in the center, 
although sheets made in this way are uncommon now-a-days. See 
whether you can find out why. Ask permission to make or to assist 
in making the next sheets needed at home. 

4. Can you explain why some pillow cases have seams down the 
side and some have not? If you can find one with the seam, observe 
it carefully. How is the bottom of a pillow case finished? Visit a 
dry goods store if possible and find out the price of pillow tubing and 
of unbleached and bleached muslin which is sold for making pillow 
cases. Inquire as to why unbleached muslin wears better and is 
cheaper than bleached muslin. Which would you prefer to buy, and 
why? Make a pair of pillow cases for your room. 

See if you can find out the price of ready-made pillow cases with 
a plain hem and with a hemstitched hem; then compare with the 
price you would have to pay for the same grade of muslin to make 
the pillow cases. Judging from these figures, if you made a pair of 
pillow cases, how much would you receive for your work? 

5. What kind of waterproof material would be especially de- 
sirable to use in covering a cookbook? Heavy paper is sometimes 
used to cover school books. Get a good quality of tough paper and 
cover some of your books at home. 

6. How are extra buttons usually cared for? Do you always 
remove and save the buttons before throwing a worn out garment 



67 

into the rag bag? Perhaps you know of someone who would ap- 
preciate a nice button bag for a Christmas gift. Design and make 
one at home for this purpose. 

7. A bag for soiled handkerchiefs or dust cloths can be made 
on the same principle as the hair receiver; it should be larger. Make 
cne for your room using, your own ideas as to proper size and dec- 
oration. If possible use a piece of material which you have at home 
so as to avoid expense. 

8. If you made the child's bib given in this section you have 
had some practice embroidering a scalloped edge. Name some dif- 
ferent articles that you could make that would be very pretty finished 
■wi'Lh a scalloped edge. Then make some article with a scalloped 
edge. Possibly, if it is well done, your teacher would be glad to 
have you save it for an exhibit day. 

9. If you have made buttonholes in school it would be an ex- 
cellent idea to make more at home, as it takes considerable practice 
to become skillful. Try to make a buttonhole so well that your 
mother will be glad to let you work the buttonholes in some garment 
that she may be making. 



68 



INTRODUCTION TO SECTION II 

BV the time the students have completed Section I, they should 
be pretty familiar with the most common forms of simple 

stitches, but skill and judgment in the application of eyen the 
most elementary processes come only with long practice. It is there- 
fore advised that students be not allowed to pass too quickly from 
the elementary projects. 

This section sets forth projects which call for a little more ability 
in actual sewing work; it also offers opportunity for wider exercises 
of individual taste. Students should be encouraged to study the 
suggestions for optional modification very carefully before under- 
taking any project. They should be expected to incorporate as many 
original ideas as possible in their work. 

The home work recommended at the close of this section deals 
with just such problems as are continually arising in every home 
and the students should be expected to carry out this part of their 
instruction. Some of the undertakings recommended should be 
brought to school and done at the regular sewing period. However, 
if this is not desirable some plan might be devised whereby each girl 
could report on the work done at home and receive recognition or 
credit of some sort for such work. 

Frequent references should be made to the supplement through- 
out the lessons of this section, for it is very important that early 
habits and practices be properly formed. The mechanical operations 
involved in the various details should gradually become less difficult, 
thus giving the students an opportunity to concentrate their attention 
in securing excellent results in their work as a whole. 



69 







FILING POCKET 

MATERIALS. 

Brown gingham (Chap. I, 
Par. 19) or 

Brown Chambray (Chap. I, 
Par. 9) or 

Linen crash (Chap. I, Par. 
44). 

Cretonne (Chap. I, Par. 12). 

1 piece linen, gingham or 
chambray, 12" wide x 28" 
long. 

1 piece cretonne 3" wide x 
12" long. 

1 piece cardboard 9y2 "xliy2". 

2 brass rings about %" in 
diameter. 

Thread No. 70. 
Needle No. 8. 



INTRODUCTORY STATEMENT. 

As a successful business man has a systematic method of filing 
letters and keeping valuable papers in a definite place in order to 
increase the efficiency of his office work, so the home keeper will 
find that her work may be lightened by having definite places in which 
to keep the many little things which are so easily mislaid. A filing 
pocket provides one means of caring for different articles, for instance 
bulletins in the kitchen, patterns in the sewing room, or unanswered 
letters near the writing table. 

The material used in a filing pocket will depend somewhat on 
the use to which it is to be put. If it is to contain heavy bulletins, 
it should be made of strong material, like denim, or heavy cretonne. 
If it is to hold light papers it may be made of percale, chambray, 
gingham or light weight cretonne. 



References : 

The Cotton Plant, U. S. Bulletin 601. 
Cotton Improvement, U. S. Bulletin 501. 



70 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




FILING POCKET. 

No. 1. This is a large filing pocket made of strong cloth; the 
edges are bound, a stick run through the wide hem holds the top 
straight. It is very serviceable for sewing patterns. 

BULLETIN FILE. 

No. 2. This file is very similar to No. L It will be found con- 
venient in caring for club bulletins or other small pamphlets. 

WALL POCKET. 

No. 3. This project shows a modification in which the pockets 
are enlarged considerably so as to serve many purposes. 



SLIPPER CASE. 

No. 4. The large loose pockets held with elastic at the top pro- 
vide a convenient slipper case. 



71 

WORKING DIRECTIONS FOR FILING POCKET 
PREPARING MATERIAL. 

If necessary, straighten two adjoining edges of the material by 
drawing a thread and cutting on the line (Chap. II, Par. 102). If there 
is a selvage, trim it ofT. On the short edge measure out 12" or the 
width of the filing pocket before making. Tear the material length- 
wise, or draw a thread and cut on the line. On the longer edge of the 
material measure down 28", twice the length of the back and pocket. 
Tear crosswise, or draw a thread and cut on the line. If you tear 
the material, pull the cloth straight (Chap, II, Par. 101) and trim ofl' 
the ravelings. 

PREPARING FOR THE POCKET. 

This filing pocket is made of a double thickness of cloth. With 
the right side in, fold one short edge even with the opposite one, 
making the fold at the bottom. Crease this with the thumb nail. 
Baste the two long edges together with short uneven basting (Chap. 
II, Par. 104). About V^" from the edge stitch just inside of the bast- 
ings with the sewing machine (Chap. II, Par. 164), or sew with the 
combination stitch (Chap. II, Par. 108). Turn the material right side 
out, being careful to push the corners out with the point of the shears 
and to make the edges perfectly straight (if you have stitched the 
seams carefully you should be able to crease these outside edges even 
with a thread). The upper edges, which are now open are to be 
overhanded together (Chap. II, Par. 110) after the cardboard is put in. 
The raw edges must be turned in before overhanding, so you may turn 
them in one-fourth of an inch, even with a thread, and baste them in 
place with uneven basting. 

TO MAKE THE POCKET. 

The edge of this pocket as shown in the illustration is trimmed 
with a band of cretonne. This should be sewed on before the pocket 
is turned up. Straighten the edges of the cretonne (Chap. II, Par. 
102), making it 2ii>"xll^2", or the exact width of the finished filing 
case, plus ^2". Turn the raw edges even with a thread one-fourth of 
an inch toward the wrong side all the way around and baste them 
with unevin basting (Chap. II, Par. 104). Care shou'd be taken to 
keep this piece a perfect rectangle. Baste it carefully on all four 
edges to the folded end of the filing pocket. The ends will be stitched 
when the pocket is sewed in place. Stitch the top and bottom edges 
in place with very even machine stitching, or finish them by hand 



72 

■with catch stitching (Chap. II, Par. 120) or featherstitching (Chap. II, 
Par. 121, 122, 123). Fold up this end of the filing pocket onto the 
material the depth desired for the pocket, or about four and one-half 
inches (with the strip of cretonne turned out). Baste the doubled 
edges together with uneven basting, overhand (Chap. II, Par. 110) the 
edges together, sewing through the cretonne, or stitch on the machine. 

PREPARING AND PUTTING IN THE CARDBOARD. 

A piece of cardboard should be cut to fit the inside of the back 
of the filing pocket. This should be QVa'xlP^", but will probably 
vary somewhat in size, as a very slight variation in the width of the 
seams or the depth of the pocket will make a change in the size of 
the back of the filing pocket. Measure the back carefully and cut 
the cardboard to fit it. Slip the cardboard between the two thick- 
nesses that form the back of the filing pocket and overhand the open 
edges together. 

SEWING ON THE RINGS. 

To sew on each ring, knot the thread and insert the needle about 
one-half inch from the top edge of the filing pocket bringing it up on 
the edge about one-half inch from the corner. Holding a portion of 
the ring next to the edge where the needle came out, sew over and 
over it six or eight times. Fasten the thread by running the needle 
through the two thicknesses of cloth about one-half inch. 




73 




SLEEVELETS 

MATERIALS. 

White Cotton Cambric (Chap. 
I, Par. 6). 

Long Cloth (Chap. I, Par. 24). 

1 piece white goods % yard 
long and 27" wide. 

Thread No. 70. 

Needle No. 8. 

1 yard narrow white elastic. 



INTRODUCTORY STATEMENT. 

Every girl knows how difficult it is to keep the bottom of long 
sleeves clean when at work. Sleevelets made of paper and pinned to 
fit the arm will offer some protection. As they are only temporary 
and tear easily, they are not very satisfactory. 

Sleevelets made of cloth are much more practical. As they usu- 
ally require frequent laundering, they should be made of wash ma- 
terials, the color depending somewhat on the use for which they are 
intended. Black sateen is often used for sleevelets to be worn in an 
office or store while white cambric or dainty colored gingham, per- 
cale or chambray is generally used for sleevelets to be worn in the 
kitchen, or at work about the house. 

While sleevelets may be finished at the bottom in several ways, 
one of the simplest methods is to gather in the extra fullness with an 
elastic. The sleevelets shown in this lesson have an elastic band at 
the top and bottom, making them adjustable to any sized arm. These 
sleevelets may be used as part of a cooking uniform for school. 



References : 

A Profitable Cotton Farm, U. S. Bulletin 364. 
The Cotton Plantation, U. S. Bulletin 326. 



74 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 





^^^r X 


7 


^^^r ''^^1 




^^r 


i 


F / mm 


^B^^^^^^^^l 


^^^L 


M 


B^^^^^^^^B 1' ii ii|i' ^B 



BUTTONED SLEEVELETS 

No. 1. Sleevelets are sometimes provided with a button and 
buttonhole instead of elastic at the bottom; the elastic is frequently 
used at the top of such sleevelets. 

HEMSTITCHED CUFFS. 

No. 2. Where pretty dainty sleevelets are desired they may be 
made short and hemstitched. When neatly laundered they are very 
attractive. 

PLAIN CUFFS. 

No. 3. Sleevelets are sometimes made perfectly plain; they may 
then be starched stiff and fastened in place with a pin. 

PLAIN SLEEVELETS. 

No. 4. Sleevelets may be made perfectly plain, starched like the 
culTs and held in place with a pin. 



75 

WORKNG DIRECTIONS FOR SLEEVELETS 

PREPARING MATERIAL. 

Straighten two adjoining edges of material (Chap. II, Par. 102) 
if necessary. Trim off any selvages. Measure out on the shorter 
edge 12" (the length of the sleevelets before making). Tear crosswise, 
or draw a thread and cut on the line (Chap. II, Par. 102). Measure 
out on the long edge ISl-j" (the width of one sleevelet before it is 
made) and tear lengthwise or draw a thread and cut on the line. 
The piece of material left should be 12"xl3", the size of the other 
sleevelet. Trim off the ravelings on the edges if you have torn the 
material. Cut out the second sleevelet in the same manner. 

MAKING THE SEAM ON THE SLEEVELET. 

One sleevelet may be made and when it is completed the other 
may be made exactly like it, or the sleevelets may be made together 
by repeating each process on the second sleevelet after you have 
finished it on the first. In these directions you are to complete one 
sleevelet before making the second one. The sleevelet should be made 
a little narrower at the bottom than at the top. To do this, fold the 
material lengthwise in the center. On one end which is to be the 
bottom of the sleevelet, measure in from the raw edge one inch and 
mark with a pin. From the upper corner at the top of the same edge, 
fold the cloth diagonally to the pin. Cut on this diagonal fold, mak- 
ing a slanting edge from the bottom to the top of the sleevelets. Baste 
the slanting edges together using the uneven basting stitch (Chap. II, 
Par. 104); finish them with a French seam (Chap. II, Par. 137). The 
bottom of the sleevelet is to be finished with a hem provided with a 
casing through which to draw the elastic that gathers it at the wrist. 

To make this hem, make a first turning about Vi" toward the 
v.rong side of the sleevelet then make a second turning about P/4" 
tov.ard the same side; baste with even basting stitches (Chap. II, Par. 
103) and sew^ in place, with machine stitching (Chap. II, Par. 164), 
or hem neatly by hand, leaving about i/4" unsew-ed through which to 
insert the elastic. To form the casing for the elastic measure down 
about %" below the sewed edge of the hem and make a row of 
machine stitching or running stitches (Chap. II, Par. 106) parallel 
with the edge of the hem. Remove the bastings. 



76 

THE HEM AT THE TOP OF THE SLEEVELET. 

The hem at the top of the sleevelet shown in the illustration 
serves as a casing through which to run the elastic. Make this hem 
about %" wide with Vi" first turning; baste with even basting (Chap. 
II, Par. 103) and sew in place with the hemming stitch (Chap. II, Par. 
114) or stitch with the sewing machine (Chap. II, Par. 164) leaving 
about 1/4" unsewed (at the seam) in which to insert the elastic. 

PUTTING IN THE ELASTIC. 

As the fullness at the bottom of the sleevelet is to be gathered on 
an elastic band, cut a piece of elastic one-half inch longer than the 
wrist measure. With a bodkin, or hair pin, draw the elastic through 
the casing, letting the two ends extend outside the opening. Overlap 
the ends and sew them together firmly; slip them inside of the casing 
in the hem and sew up the opening left in the hem. If you have sewed 
the hem by hand this small opening may be sewed with the hemming 
stitch; if you have stitched it on the sewing machine sew it on the 
right side with backstitches (Chap. II, Par. 107). 

As the fullness at the top of the sleevelet is also gathered on an 
elastic band, cut a second piece of elastic one-half inch longer thar. 
the measurement of the arm just below the elbow. Draw it through 
the casing and fasten it just as you did at the bottom of the sleevelet. 
Finish the hem in the same manner. 

Make the second sleevelet in the same manner that you did 
the first. 




77 



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CAP 

MATERIALS. 

Lawn (Chap. I, Par. 23) or 
Cotton Cambric (Chap. I, 

Par. 6) or 
Long Cloth (Chap. I, Par. 24). 

1 piece of white wash goods 
about 21" square. 

1 yard of lace. 

% yard of elastic Vs" wide. 

Thread No. 70. 

Needle No. 8. 

Commercial pattern, or a 
piece of Manilla wrapping 
paper about 22 " square. 



INTRODUCTORY STATEMENT. 

In order to keep the hair in a healthy condition, it is necessary 
to keep Hie scalp clean. It is, therefore, very desirable to protect 
the head when working in the dust. This has made the so-called dust 
caps very popular. 

While silks, laces, and dainty, sheer materials are used in caps 
which are worn simply for ornament, the service to which a dust cap 
is to be subjected requires that it be made of material firm enough 
to keep out the dust. However, this does not prevent the use of dainty 
colors such as pale pink and blue ginghams, percales or similar 
materials. The white cap is usually becoming and looks very at- 
tractive in the kitchen. 

Although these caps are frequently made with a brim which 
calls for two pieces of material, the cap in this lesson is made of one 
piece only. This cap may be worn as part of a cooking uniform 
for school. 



References : 

Cotton Spinning. Marsdcn-Macmillan Co. 
Grading of Cotton, U. S. Bulletin 591. 



78 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




CAP WITH BRIM. 

No. 1. This cap has a turned l>ack hrim which may be piped, 
Irinimed witli braid or rickrack. 

LACE TRIMMED CAP. 

No. 2. Narrow hice may be used eflectively in trimming a cap 
which is intended to l)e rattier dainty. 

EMBROIDERED CAP. 

No. 3. The turned up brim presents an opportunity to use vari- 
ous decorative stitches, botli on its surface and edges. 

LACE CAP. 

No. 4. Tlie combination of lace and silk ofTers unlimited oppor- 
tunities in designing attractive elTects in dainty caps. 



79 

WORKING DIRECTIONS FOR CAP 

PREPARING MATERIAL. 

This cap is made from a circular piece of cloth about 21" in 
diameter. To make a pattern for the cap, draw a circle that size on 
a piece of manilla wrapping paper (use a pencil and a string); fold 
it on one of its diameters and cut it in halves. Use one-half of the 
pattern to lay out the cap. 

PREPARING THE CIRCULAR PIECE. 

Fold the material in the center and pin the straight edges of the 
pattern on the fold, also pin it in two or three places around the 
curve. Cut carefully around the curve, remove the pattern and open 
the circular piece of cloth. This circle of cloth is to be finished with a 
hem, preferably a rolled hem, although it is more difficult to make 
than the flat hem. Make a rolled hem (Chap. II, Par. 118) around 
the edge and sew in place as you roll it, or a narrow. Hat hem (Chap. 
II, Par. 114). 

Lay the right side of the lace on the right side of the circular piece 
of cloth and overhand the lace on the edge of the hem (Chap. II, 
Par. 112). To keep the lace from drawing around the outside edge, 
full it on slightly as you sew. Join the edges of the lace (Chap. II, 
Par. 148). 

PUTTING IN THE CASING FOR THE ELASTIC. 

This casing may be made by using the commercial bias tape, 
about %" wide, or bias strips may be cut (%" wide) according to 
directions in Chap. II, Par. 143. If two or more strips are necessary, 
join them (Chap. II, Par. 144), then turn under the raw edges, making 
a strip about %" wide when completed. The turned edges may be 
pressed with an iron, creased firmly, or basted to keep them folded. 
To allow the edge of the cap to extend beyond the casing, baste the 
outside edge of the tape about IVi" inside the edge of the hem. Be 
careful to keep the spacing even all the way around, also stretch the 
edge slightly to make the tape lie smoothly when the inner edge is 
basted in place. A small piece of cardboard cut about one-half inch 
wide and li/4" long will serve as an excellent guide in keeping the 
tape even with the edge of the cap. 

When you have basted the outer edge of the tape all the way 
around the circle, join the ends; baste the inner edge in place, keep- 
ing the tape smooth. Sew both edges of the tape in place with hem- 



80 

ining stitches (Chap. II, Par. 114), or stitch them on the sewing ma- 
chine (Chap. II, Par. 164), leaving a space of about }■>" unsewed on 
the inner edge through which to insert the elastic. Measure around 
your head and cut the elastic for your cap about two inches longer. 
With a bodkin, or hairpin, run the elastic through the casing, allow- 
ing both ends to extend outside the half-inch opening. Before fas- 
tening the ends tie them loosely; place the cap on the head; adjust 
it until it fits nicely, then cut the elastic to the proper size; lap the 
two pieces about ^A" and sew them together firmly. Slip the joined 
ends inside the casing. 

As the elastic is usually removed when the cap is washed, it is 
ad^'isable to leave the opening in the edge of the casing unsewed. 
You may prefer to tie the elastic in a neat knot close to the opening 
in the casing, as it may then be removed simply by untying the knot. 
Adjust the gathers evenly on the elastic. 




81 




SILVER CASE 

MATERIALS. 
Outing flannel (Chap. 

I, Par. 30) or 
Felt (Chap. I, Par. 

58) or 
Canton Flannel 

(Chap. 1, Par. 7). 

V2 yard flannel or 

felt. 
% yard of tape to 

match material. 
Cotton or silk thread 

to match. 
Needle to correspond 

with the thread. 
Embroidery cotton. 
Embroidery needle 

to correspond. 



INTRODUCTORY STATEMENT. 

There is nothing which adds to the attractiveness of the table 
more than well kept silverware. Silver rapidly loses its polish if it 
becomes scratched. Even a thorough cleaning with silver polish will 
not restore the characteristic luster of new silver after it becomes 
marred or scratched. One piece of silver rubbing on another scratches 
it and thus both pieces are damaged. Knives, forks, spoons and 
other small silver may be kept looking bright and new much longer 
if each piece is kept separate from the others. For this reason, a 
case made with a little pocket for each piece of silver will be found 
very desirable. 

The silver should be thoroughly dried before placing it in the 
case. The case should be made of soft material, like flannel, outing 
flannel, or felt. Very satisfactory cases can be purchased, but they 
can also be very easily made, at much less cost. Where linen is used 
for the outside and embroidered, it should be lined with outing flannel, 
or some soft material. 



References ; 



Wool and Manufacture of Wool, W. C. Ford. 

A Story of Table Furnishings, The Cornell Reading-Courses. 



82 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




KNIFE CASE. 

No. 1. This knife case contains separate pockets very similar 
to the one presented in the lesson. It folds over and over and 

fastens with a snap. 

FORK CASE. 

No. 2. The fork case shown in No. 2 presents a design which 
may be made very pretty. The use of the embroidery and ribbon 
adds much to make it attractive. 



TEASPOON CASE. 

No. 3. This spoon case is made to match the knife case shown 

in No. 1. This will suggest the idea of a complete set of silverware 

cases to match. 

ROLLED SPOON CASE. 

No. 4. This case is made of a soft flannel material so it can be 
rolled and tied with a tape or ribbon. The embroidered initial adds 
to its appearance. 



83 

WORKING DIRECTIONS FOR SILVER CASE 

PREPARING MATERIAL. 

Straighten two adjoining edges of the cloth (Chap. II, Par. 102). 
To prepare the larger piece, measure out on the short edge 13", (the 
width of this piece) draw a thread crosswise and cut on the line. 
Measure out on the long edge 20" (the length of this piece). Draw 
a thread lengthwise and cut on the line. The narrow strip remaining 
is to be used for the pocket. Straighten the edges where necessary 
and make it 5" wide by 15" long. 

THE BACK PIECE. 

As you will notice in the illustration, the back is not a perfect 
oblong, but is rounded at the top corners and shaped off at one 
end to form a lap which is to be wTapped around the rest of the 
case after the silver has been rolled up in it. 

TO SHAPE THE END. 

First lay the long edges of the material parallel with the front 
edge of a table or desk before you. Fold the upper edge of the 
material over toward the lower edge, 5 inches. Leaving it folded, 
measure from the lower right-hand corner of the folded material l^Vz" 
toward the left; mark this point with a pin. From here cut a straight 
line to within 1 inch of the folded edge at right angles to it. Curving 
to the left, cut on the line of the folded edge to the left end of the 
material (this cuts the upper left-hand corner out of the material). 
The part which extends at the left forms the flap mentioned above. 

To round the corners of the flap, measure out from one corner 
2^l' on the adjoining edges; mark these points with pins. Cut the 
corner rounding betv.een the pins the same as in the illustration. 
Round the opposite corner in like manner. 

The top corners of the back piece should also be made slightly 
rounding. To do this, measure out from one corner one inch en the 
adjoining edges, marking these points with pins; cut the corner 
rounding between them. Round the other corner in like manner. 

MAKING THE POCKET. 

The pockets into which the silver is to be placed are formed by 
sewing the smaller piece on the back piece, as shown in the illustra- 
tion. Baste it in place with uneven basting (Chap. II, Par. 104). 
Sew the pocket to the back piece along the bottom and right end with 



84 

blanket stitches (Chap. II, Par. 128), working them very close to- 
gether; continue around the remaining raw edges of the silver case. 
Finish the raw edges on the top and left end of the pocket in the 
same manner. 

If desired, the edges may be finished with binding ribbon which 
should match the material of the silver case. To put it on, crease 
it lengthwise in the center, lay the inside of the crease on the edge 
of the silver case and with the edges on the opposite sides, fasten 
it in place sewing through both edges at the same time. Stitch close 
to the edge of the tape on the right side with the sewing machine 
(Chap. II, Par. 164). 

MAKING DIVISIONS IN POCKET. 

This large pocket is to be divided into twelve small ones, each of 
which is to hold one piece of the silverware as shown in the illustra- 
tion. To make these pockets, divide it into spaces li/4" wide, mark- 
ing each division with a line of basting stitches extending from the 
bottom of the pocket to the top. Stitch in place with sewing machine 
(Chap. II, Par. 164). 

SEWING ON TAPE FOR TIES. 

When the silver case is folded, it should have a tape correspond- 
ing in color tied around it to keep it folded. To sew on the tape, first 
find the center by folding the two ends together; crease on the fold, 
lay the center of the tape on the center of the rounded flap, near the 
edge. Sew it to the flap with two parallel rows of backstitching 
(Chap. II, Par. 107) placed about 1/4" apart. 



85 




SCHOOL BAG 

MATERIALS. 

Linen (Chap. I, Par. 40). 
Chambray (Chap. I, Par. 9). 

1 piece of chambray or linen 

14V2"x36". 
Thread No. 70. 
Needle No. 8. 

1 yard white cotton tape 

about 1" wide. 
Stencil pattern. 
Heavy cardboard. 
Oil paints, or dyes suitable 

for stenciling. 



INTRODUCTORY STATEiMENT. 

Did you ever find yourself hurrying to school with an armful 
of books, and have one of them begin to slip and the others, one 
by one, follow its example until finally all the books lay at your 
feet? If you have you will appreciate the advantage of a school bag. 

A book bag may be made like a button bag, with a string. How- 
ever, a bag made with a wide opening at the top with straps which 
can be placed over the shoulder is very much more easily carried. 

A school bag should be made of strong material, like denim, or 
a firm grade of cambric, chambray or percale. Oilcloth is also very 
desirable as it is waterproof. 

The design on the book bag should be simple. Stenciling makes 
a very attractive decoration for this sort of bag. It would be interest- 
ing to design and paint the stencil in the drawing class. 



References : 

Choosing Textiles, Gibbs. Illinois Univ. Bulletin. 

Decoration of the School and Home, Diliaway. Manual Arts Press. 



86 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




SCHOOL BAG. 

No. L This bag is made the same size as the one in the illus- 
tration. Instead of the flap at the top, it is finished with an inch 
hem. Two draw strings running in opposite directions slip through 
rings. It is trimmed with cretonne. 

COOKING BAG. 
No. 2. This bag is made similar to No. 1, the draw strings being 
run through a hem in the top of the bag; it is ornamented with em- 
broidery stitches. It may be used to carry cooking uniform back and 

forth to school. 

CORSET BAG. 

No. 3. This bag is made from cretonne. It is QVo" wide by 30" 
long. The draw strings are run through the lower half of a hem, the 
upper half being allowed to extend in a heading. 

PARTY BAG. 

No. 4. This bag is made of heavy silk, lined with lighter weight 
silk. The draw strings of ribbon are drawn through the lower part 
of the hem, leaving the upper part for a heading. It is 15" wide by 
18" long. 



87 

WORKING DIRECTIONS FOR SCHOOL BAG 

PREPARING MATERIAL. 

Straighten two adjoining edges of the material (Chap. II, Par.. 
102). (If the material is 30" wide it may be torn down the center 
and two bags can be made out of one width). Measure out on the 
short edge 141/2", the width of the bag before making. Measure out 
on the long edge 36", one yard (the depth of the bag before making). 

TO MAKE THE FLAP. 

This bag is to be made of one strip of material, one end being 
made pointed to form a flap, the other folded up to form the bag. 
To make the flap, find the center of the material by folding the long, 
edges together evenly; crease on the fold. Open the material. Fold 
one corner over to the central crease; on the same end fold the other 
corner over in like manner, thus forming a point on the end of the 
material. This pointed end of the material is to form the flap. Cut 
away the extra material folded over and finish the raw edges with sl 
hem 11/4" wide (Chap. II, Par. 114), mitering the corner at the point 
(Chap. II, Par. 146). 

FORMING THE BAG. 

The opposite end of the material is to be folded up to the be- 
ginning of the fiap to form the bag. Before folding it, finish the 
raw edge with a hem %" wide \nih a first turning 1/4" wide. Sew it 
in place with hemming stitches, or stitch with the sewing machine. 
The edges along the sides of the bag are to be finished with French 
seams (Chap. II, Par. 137). To do this, fold the hemmed edge up- 
( having the right side out) until it overlaps the bottom of the hem 
on the flap i/4". Join the edges with French seams about Vs" wide^ 
Remove all bastings and turn the bag right side out. 

TO SEW ON THE TAPE. 

This bag is to be suspended from the shoulder \\ith a strip ot" 
tape about one inch wide. To sew on the tape, first turn under the 
raw edge at each end about i/4", allowing one end to overlap the 
back of the bag 1/2" on one upper corner; baste it in place, being, 
careful to sew through the back of the bag only. Place the other 
end of the tape in the same position on the opposite corner of the 
bag, as shown in the illustration, and baste in place. Fasten each 
end securely to the bag with hemming stitches (Chap. II, Par. 114),. 
sewing around the two edges, across the bottom and along the place 
where it crosses the edge of the bag. 



88 

THE DESIGN. 

This bag is decorated with a stencil design. To make a stencil 
design, proceed as follows : Make your own design, or use a com- 
mercial pattern. When you have decided on the design, transfer it 
to stencil board, bristol board, or very heavy paper. To cut out the 
design, place the material on which you have transferred your de- 
sign over a piece of glass, and with a sharp knife cut it out in very 
clean-cut lines. 

To stencil the design onto the bag, open the flap, place a blotter 
inside the bag and fasten the design over the bag firmly in the posi- 
tion desired. Use a brush with short bristles and artist's oil mixed 
with turpentine, or Easy Dye dissolved in water (Your teacher should 
help you to select suitable colors for your design). As the paint is 
likely to spread under the pattern, remove the excess from the brush 
each time before applying it to the stencil by rubbing it over a piece 
of waste cloth. Apply the paint with a daubing rather than a brush- 
ing motion. There should be only sufficient paint left in the brush 
to color the stencil. Oil crayons may be used instead of the paints 
or dyes if the design on the bag is pressed with a hot iron to set the 
colors. 



89 




BROOM COVER 

MATERIALS. 

Canton Flannel (Chap. I, 
Par. 7). 

^2 yard canton flannel. 

2 yards cotton tape W wide. 

Colored embroidery cotton 
(if desired). 

Embroidery needle to cor- 
respond. 

White thread No. 60. 

Needle No. 7. 



INTRODUCTORY STATEMENT. 

The day of carpets tacked to the floor is rapidly passing, and 
rugs that can be laid loose on the hardwood or painted floors have 
almost entirely taken their place. The exposed parts of the floor 
must be dusted frequently with a dry mop. 

There are many dust mops on the market which are more or 
less expensive, many of which are very satisfactory. A simple sub- 
stitute for these, however, is the broom cover, which can be placed 
over the broom while sweeping or dusting the hardwood floor and 
can also be easily removed when it needs to be washed. The covered 
broom may be used to sweep the walls or to dust high places. The 
cover may be moistened with furniture polish to prevent the dust 
from flying when used only on the floor. 

Any mop or polishing cloth which has been moistened with oil 
should be singled out and hung in a cool place. If left in a wad 
there is danger of its taking fire. 



References : 



Rules for Cleaning, The (".ornell Reading-Courses. 

Attic Dust and Treasures, The Cornell Reading-Courses- 



90 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




DUST CLOTH. 

No. 1. This is a plain simple dust cloth made by sewing togetlier 
the tops of discarded stockings; it has the advantage of picking up 
the dust rather than scattering it. 

BROOM COVER. 

No. 2. A broom cover made of a large straight piece of cloth with 
rings and a draw string will be found convenient for dusting high 
places. 

BROOM COVER OF CARPET. 

No. 3. An old piece of soft woolen cari)et sewed into a bag and 
supplied V. ilh a draw string to fasten it over a broom, is very valuable 
in polishing waxed floors. 



MOP CLOTH. 

No. 4. Several strips of canton llannel. hemmed and stitched 
together in Ihe middle will furnish a serviceable mop cloth. 



91 

WORKING DIRECTIONS FOR BROOM COVER 
PREPARING MATERIAL. 
Straighten the two long edges of the material (Chap. II, Par. 102). 

MAKING THE BAG. 

This broom cover is to be used for hard service and it should 
not have a great deal of fine work put on it, but, even though it is 
a simple problem, each process should be done as perfectly as pos- 
sible. This cover, which is simply a bag, is to be joined by sewing 
the two selvage edges in a seam, thus making a seam along one edge 
of the bag and a fold on the other. Lay the two selvage edges to- 
gether with the smooth surface of the material inside and the upper 
and lower edges even. With uneven basting (Chap. II, Par. 104) 
baste the two selvage edges together with a ^A" seam, continuing 
around the bottom edge. Stitch just inside of the bastings with the 
sewing machine (Chap. II, Par. 164), or sew by hand with the back- 
stitch (Chap. II, Par. 107). Remove the bastings and if desired, 
overcast (Chap. II, Par, 113) the raw edges on the bottom of the bag. 
Turn the bag right side out. 

PUTTING IN THE HEM. 

A hem 1" wide finishes the raw edge at the top. With a quarter 
inch first turning, fold, baste with even basting (Chap. II, Par. 103) 
and stitch the hem in place on the sewing machine, stitching very 
close to the edge, or hem neatly with hemming stitches (Chap. II, 
Par. 114), or catch stitch (Chap. II, Par. 120) in place on the right side, 

TO PUT IN THE DRAW STRING. 

In the center of the hems make an opening about one-halt 
inch long in the seam which crosses it. On the opposite side make 
a crosswise cut in the center of the hem the same length as the first 
one. To keep these openings from raveling, work them around the 
edges with the buttonhole stitch (Chap. II, Par. 136). Cut the tape 
in two pieces, each one yard long. With a tape needle or hairpin 
run one piece of tape through a buttonhole entirely around the hem 
of the bag, letting one end remain outside and the other come through 
the buttonhole again. Join these two ends with a felled seam (Chap. II, 
Par. 138). Run the other tape entirely around the bag in the same 
manner, drawing it through the opposite buttonhole. Fasten the two 
ends of tape which hang from this buttonhole with the felled seam. 
Close the cover by drawing the ends of the tape in opposite directions. 



92 

THE DESIGN. 

For ordinary purposes, it is unnecessary to do any embroidery 
work on a broom cover. A design was worked on the broom cover 
in this lesson merely to give a better idea in the picture. If you ex- 
pect to exhibit the broom cover which you have made in class, you 
will probably wish to work a similar design on yours. 

The design may be written on a piece of paper and transferred 
to the broom cover with carbon paper by placing the carbon paper 
carbon side down on the bag, and pinning the design over it, then 
tracing around it with a pencil. It would be advisable to use a strip 
of carbon paper a trifle wider than the letters you have made, and 
move it as you transfer each line. When a large sheet of carbon 
paper is used, the carbon is likely to rub off in places and soil your 
work. 

Work the design with coarse embroidery cotton in any color 
desired with the outline etching stitch (Chap. II, Par 125), or chain 
stitch (Chap. II, Par. 126). You may prefer simply to make your 
initial in the manner already described, and work it with the outline 
etching stitch, chain stitch or satin stitch (Chap. II, Par. 131). 



93 




CROCHETED 
TURBAN 

MATERIALS. 

5 skeins of Saxony yarn the 
color desired. 

1 bone crochet hook to cor- 
respond with yarn. 

2 large wooden button molds. 

2 rubber bands, or short 
pieces of heavy string. 



INTRODUCTORY STATEMENT. 

When the winds of winter begin to whistle around the corners 
and through the tree tops, the schoolgirl, as she sallies forth, one 
hand holding her hat tightly, the other filled with books, usually 
longs for some sort of close fitting head-covering which will 
protect her ears from the cold. It is a great satisfaction to the aver- 
age girl to be able to crochet a becoming cap for herself. The soft 
woolen yarns adapt themselves very nicely to this work and even 
though a girl may have had but little experience in crocheting, it is 
quite possible for her to crochet a cap. 

The cap shown in this lesson, when unbuttoned, is simply a long, 
flat strip of crocheting. As it is almost impossible to remove the 
ordinary toboggan cap without disarranging the hair, this cap will 
prove very much more satisfactory because it can be removed by 
unbuttoning the ends. 



References: 

Woolen and Worsted Yarn Preparation, Cyclo. of Textile Work. 
Columbia Book of the Use of Yarns, Wm. H. Horrtman Co., Philadelphia. 



94 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




TOBOGGAN CAP. 

No. 1. This cap is crocheted of yarn. Beginning with a ring of 
stitches in the center, each succeeding row is increased until the cap 
is the size desired for the head, then it is crocheted straight around 
several inches to form the border. 

CROCHETED CAP. 
No. 2. This cap is made of wool yarn crocheted with any 
stitch desired, in a long strip. The strip is folded and joined on the 
edges with slip stitches. Crocheted buttons fasten down the corners. 

CROCHETED BREAKFAST CAP. 
No. 3. A band of filet crocheting forms the brim, and squares 
of chain stitches form the crown of this cap. It is lined with silk; 
the beading at the edge is interlaced with ribbon to match. 

LACE BREAKFAST CAP. 

No. 4. The crown of this cap is made from all-over lace; lace 
edging about 2" wide forms th.e rulTle on the edge. The rufile and 
crown are joined VNilh hicc heading interlaced with ribbon; the crown 
is lined with Chir.a silk. 



95 



WORKING DIRECTIONS FOR CROCHETED TURBAN 

This cap is made of a strip of crocheting 15" long by 18' wide, 
as shown in the illustration. 




CROCHETING THE CROWN PIECE. 

To make the crown piece, crochet 85 chain stitches loosely (Chap. 
II, Par. 155). This should make a chain 15" long. Increase or de- 
crease the number of stitches if necessary. On this row of stitches 
you are to make a row of stitches resembling stars. To do this, turn 
over work, skip first ch. st. draw a loop (1) through each of the 
next 4 ch. sts., then draw a 1 through the 5 loops on the hook all at 
one time; to complete first star ch. st. one. To make second star, 
draw a 1 through the eye of the star just made; a 1 through back of 
last 1 of same star, then one 1 through each of the next 2 ch. sts. 
Finish the same as first star; continue making these stars to end of row. 

To make the second row, which is to be the same as the first 
one, turn the work over; ch. st. 3, take up two Is on this ch., one 1 in 
eye of star below, one 1 in the back of upper 1 of same star; finish star 
as usual. Take up one 1 through eye of star just finished; one 1 
through back of last 1 of same star, one 1 through eye of next star 
below, and one 1 through back of upper 1 of same star; finish star 
as usual. Continue to end of row. 

Continue making each succeeding row like second row until the 
work is 8^2" wide. On the next, or center row of crown i)iece, you 
are to begin to divide the lower half in two pieces. To do this make 
star stitches half the length of crown piece (about 20 stars), then 



96 

continue with ch. sts. (about 45) the remaining length of the strip; 
turn and work stars upon the ch.; continue to end of row. Continue 
the worli as before until the second half of crown piece is 8V2" 
wide. Fasten the thread by breaking the yarn and pulling end of 
last St. made, thus tying knot. A beaded edge may be made on the 
two long edges as follows: Begin by making 3 ch. sts., draw a 1 
through first st,, and a second 1 through the next st. on the same ch. 
Skip 2 sts. on the edge of the st. below, draw the yarn through 
edge of third st., then draw a 1 through the 5 Is. on the hook, all 
at once. Continue to end of row; fasten thread. 

FRONT BAND. 

This is to be made separate and fastened to the end of crown 
piece. To make it, crochet a ch. of sts. 10y2" long; turn and make 
a double crochet (d c) in each ch. st. The model has 57 d cs (there 
should be an uneven number of sts). To make a second row, turn 
work over and return, making a d c in front thread of first st., then 
a d c in back thread of next st., continuing to end of row. Continue 
crocheting back and forth the same as you did in this row until the 
work is from one to four inches deep, depending on the width you 
desire the band. 

To round the ends of the band, in the next row crochet d cs to 
within 10 sts. of end of row; fasten in edge of next d c with a slip 
stitch (si st), (Chap. II, Par. 156), return and d c to within 10 stitches 
of end of this row, fasten last d c with si st ; be careful to keep the pat- 
tern even when working over the ends of short rows. Make one row 
of d cs entirely across, then a final beaded edge similar to one on 
edges of crown piece. 

To set band on crown piece, d c closely across the end of the 
crown piece, skipping sts on the edge sufficiently to gather it into 
a IOV2" space (the length of the band). Join gathered end of crown 
piece to straight edge of band with si sts. Turn band double and 
si st open ends together. 

FINISHING THE ENDS OF CROWN PIECE. 

Lay each end in pleats to a space of 2" or less; work across the 
pleats with two rows of tight si sts. Cover two elastic bands, or 
heavy strings tied in loops large enough to slip over the buttons 
with d cs and sew to the pleated ends. 

To cover the button molds, ch 3, join in a ring (r), work 8 d cs 
in the r; continue to work round and round without joining rows. 
The second row is made larger by placing 2 d cs placed in every third 
St. Continue increasing enough to keep the work Hat until it is same 
size as mold, then work one row plain. Make next round, skipping 
every other st. Slip in mold and work 3 or 4 more sts, skipping 
every other st to make it narrower. Sew in place at ends of band. 



97 




DARNED TOWEL 

MATERIALS. 

Huckaback Toweling (Chap. 
I, Pars. 20 and 47). 

11/4 yards huckaback. 

San silk, or mercerized em- 
broidery cotton in two 
shades. 

Blunt pointed needle to cor- 
respond. 



INTRODUCTORY STATEMENT. 

Towels are such a common household necessity that one is not 
likely to get too many on hand. While a plain towel answers the 
purpose for which it is needed, most home keepers enjoy having a 
collection of towels finished in a more ornamental fashion. 

The two edges are selvage and need no other finish, but the ends 
must be finished with a hem, either plain or hemstitched, embroidered 
scallops, or a crocheted edge of lace. Other decor-ations for a towel 
may consist of a design worked above the hem in embroidery stitches, 
or set-in strips of handmade lace insertion. 

Darning with colored embroidery cotton under the loose threads 
of buck toweling is a very simple and efTective method of decorating 
a towel. A great variety of darning designs can be worked out by 
using different colored threads and weaving them into the buck in 
different patterns. 

The towel in this lesson shows a simple design darned in the 
huckaback in two shades of color, forming simple borders and small 
diamonds across the ends of the towel. It would be interesting to 
plan and work a design of your own. 



References: 



Manufacture of Linen, Great Industries of U. S. 
Huckaback, Textile Desisn, Woodhousc & Milne. 



98 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 









1 










XX30^«%^%^^^H 


1 













DARNED TOWEL. 

No. 1. In this towel, made of huckaback, a design is darned 
through the threads of the huckaback in such a manner as to produce 
a rickrack effect. Notice that the second row of stitches is parallel 
with the first. 

DARNED TOWEL. 

No. 2. This towel is also made of huckaback with a more elab- 
orate design. Three colors of thread are used but the design is easily 
worked as each succeeding row of darning stitches is parallel with 
the one preceding it. 

DARNED TOWEL. 

No. 3. This towel offers another suggestion for a design that may 
be made by darning under the raised threads of buck toweling. 

WATER LILY TOWEL. 

No. 4. In this towel a design is transferred to the towel; it is 
outlined with the outline etching stitch, the satin stitch being used 
in a few places on the petals of the flower. The inside of the design 
is filled with stitches darned under the raised threads of the toweling. 



99 
WORKING DIRECTIONS FOR DARNED TOWEL 

PREPARING MATERIAL. 

This towel is to be finished with hemstitched hems one inch 
wide and decorated by darning under the raised threads of the huck- 
aback with colored thread. 

Straighten the raw edges on the end of the towel (Chap. II, Par. 
102). On one end of the towel measure in 2Yi" from the edge; draw 
a thread, fold, baste with even basting (Chap. II, Par. 103) and finish 
a one-inch hem with double hemstitching, drawing the remainder of 
the threads and making the stitches as directed in Chap. II, Par. 116. 
Finish the opposite end of the towel in exactly the same manner. 
Overhand (Chap. II, Par. 109) the open ends of the hems together, 
if desired. Remove basting threads. In finishing the ends of the 
towel, be careful to keep the side on which the raised threads run 
lengthwise for the right side, so the needle will slip under them 
easily when darning in the design. 

THE DESIGN. 

While the working directions in this lesson are given for the 
design shown in the illustration, it is advisable and will be found 
much more interesting for each girl to plan her own design and de- 
cide on the colors to use in working it. 

The two rows of parallel stitches forming the border of the de- 
sign in the illustration are placed Vi" above the hemstitching. Use 
the dark thread for the border. To make the first row, insert the 
needle on the under side of the cloth, run it under two or three of 
bucks or raised threads gn the under side and bring it through to 
the right side even with the selvage edge; make a straight row of 
running stitches under the bucks, or raised threads of the toweling, 
to the selvage on the opposite edge. Bring the thread through to the 
under side and fasten it the same as in the beginning. Skipping one 
row of bucks, begin the second row in the same manner as first and 
make this second row parallel with the first row. 

The diamond shaped design in the center you will notice in the 
illustration is placed parallel with the border. Use thread of an- 
other shade for this. To make this part of the design, measure up 
one inch from the second row of parallel stitches forming the border, 
beginning at the right-hand edge; fasten the thread as before and 
bring the needle through to the right side of the material close to the 
inside of the selvage; slanting the needle upward, take 3 hucl<s on 
the needle, draw the thread through, then slanting the needle down. 



100 

take 4 bucks on the needle, slanting it up take four more bucks on 
tbe needle; continue across tbe towel in tbis manner, first making 
slanting stitcbes up, tben down. Fasten tbe tbread at tbe opposite 
ends as in tbe beginning. 

To complete tbe diamonds, fasten tbe tbread on tbe under side 
of tbe towel wbere you fmisbed tbe first row and bring tbe needle 
tbrougb to tbe rigbt side; take slanting stitcbes up and down as you 
did in tbe first row, making tbem cross tbose in tbe first row in sucb 
a way as to form little diamonds. Fasten tbe tbread on tbe under 
side, as in tbe beginning. 

To make tbe otber two parallel rows wbicb form tbe top border 
of tbe design, measure up one incb from tbe center of tbe diamond, 
fasten tbe tbread on tbe under side and make a straight row ot 
stitcbes under tbe bucks as you did for the first row in tbe lower 
border; skip one row of bucks and put in a second row of stitcbes 
in tbe same manner. The other end of tbe towel should be finished 
in tbe same manner. Press the finished towel carefully. 




101 



DRESSER SCARF 




Thread No. 70. 
Needle No. 8. 



MATERIALS. 

Mull (dotted) (Chap. I, Par. 26). 

1 yard dotted mull, 18" wide. 

1% yard lace insertion 2" wide. 

21/4 yards lace edging about 2Vi" wide. 

INTRODUCTORY STATEMENT. 

While a plain towel will answer for a dresser scarf very satis- 
factorily, it is quite customary to have a special cover for the pur- 
pose. The dresser scarf may be made long enough to hang over the 
ends of the dresser a few inches, or may be made simply long 
enough to cover the top; this is a matter of taste. 

\ dresser scarf gives an opportunity for different kinds of hand- 
work, and though a very attractive looking scarf may be made by 
simply embroidering an initial in the center, using nice material 
for the cover and finishing the edges with plain hems, yet many 
elaborate designs are made. 

As you will notice in the illustration for this lesson, embroidered 
mull, trimmed with lace and lace insertion along the front and two 
ends, has been used. Tliis makes a dainty and inexpensive dresser scarf. 



References; 



Household Decoration, The Cornell Heading-Courses. 

Lace Making and Embroidery in the Philippines, V. S. Bureau of Education 
Bulletin 34. 



102 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




EMBROIDERED DRESSER SCARF. 

No. 1. This scarf is made the same size as the one in this lesson. 
The edges are finished with emhroidered scallops. A design at each 
end is embroidered in white. 

DRESSER SCARF. 

No. 2. This dresser scarf is finished with a crocheted edge. The 
design consists of running stitches worked over a stamped design. 

HEMSTITCHED DRESSER SCARF. 

No. 3. This dresser scarf is made of white linen finished with a 
hemstitched hem V/o" wide. The initial is worked with the satin stitch. 



EMBROIDERED DRESSER SCARF. 

No. 4. This dresser scarf is finished on the edge with linen lace. 
The design is worked in colors with French knots, lazy daisy, outline 
and satin stitches. 



103 

WORKING DIRECTIONS FOR DRESSER SCARF 

PREPARING MATERIAL. 

You may measure your own dresser and make the dresser scarf 
to fit it. The dresser scarf in this lesson is made 18" wide by 36" 
long, without the lace. Straighten one end of the material (Chap. II, 
Par. 102). Leave the selvage for the back and measuring from the 
selvage out on the short edge 18" (the width of the material for the 
dresser scarf), draw a thread lengthwise and cut on the line. From 
the short edge measure down on the selvage 36" (the length), draw 
a thread crosswise and cut on the line. 

FINISHING THE RAW EDGES. 

The edges on the ends and front are to be fmished with a narrow 
hem. Fold, baste and sew in place with the machine (Chap. II, Par. 
164), or hemming stitch (Chap. II, Par. 114). Remove bastings. The 
edge is to be trimmed with lace, as shown in the illustration. The 
lace may be sewed in place with the sewing machine, or overhanded 
on (Chap. II, Par. 112). If it is to be sewed on with the sewing ma- 
chine, begin with the selvage edge, letting ^A" of the lace extend for 
a hem; lay the wrong side of the lace on the right side of the hem, 
letting it overlap about is of an inch. Baste with small, even bast- 
ing (Chap. II, Par. 103), mitering it carefully at each corner (Chap. 
TI, Par. 147); leave ^/4" extending at the other end for finishing. Sew 
the lace in place with the sewing machine. If the lace is to be over- 
handed on the dresser scarf, follow directions in Chap. II, Par. 112, 
mitering the corners as directed above. 

TO SET IN THE INSERTION. 

As the insertion is to be placed 2" from the outside edge of the hem, 
make a gauge of cardboard 2" long and V2" wide to use as a guide 
in setting the insertion on evenly. Beginning at the selvage edge 
and allowing I/4" of the insertion to extend for finishing, lay it on 
smoothly, keeping it an even distance from the edge of the hem. (Test 
Avith the gauge). Baste the insertion in place, pin along its outside 
edge; as you turn each corner, fold the insertion for mitering (Chap. 
II, Par. 147), continuing to pin and baste it even with the front edge 
luitil the lace is on entirely around the scarf; leave Yi," extending 
beyond the selvage for finishing. Baste it down carefully on the 
other edge. Stitch in place with the sewing machine, very close to the 
edge. 



104 



Turn the material to the \\Tong side and cut out the material 
under the insertion, letting about %" along each edge extend, for fin- 
ishing. Finish mitering the corners, which you have already folded, 
and finish the raw edges on the ends of the insertion with a narrow 
hem, making it even with the selvage at the back of the dresser scarf. 
On each edge of the insertion, fold the extra material back away 
from the insertion and turn under the raw edges, forming a narrow 
hem on the material along each edge of the insertion. Baste, and 
stitch the edge of the hems in place on the sewing machine (Chap, II, 
Par, 164) or sew in place with hemming stitches (Chap, II, Par, 114), 
Remove all basting threads and press carefully, 

A mull with large embroidered bowknots in it is made very 
attractive by working the bowknots with the satin stitch (Chap. II, 
Par. 131) in a delicate color. It is not advisable to work over the 
designs in mull unless they are large. 



105 




KITCHEN 
APRON 

MATERIALS. 

Percale (Chap. I, Par. 31) or. 
Gingham (Chap. I, Par. 19) or, 
Chambray, (Chap. I, Par. 9 ) or. 
Calico (Chap. I, Par. 5). 

1 yard 36" wash goods, or 2 
yards in a narrower width. 
V-2 yards W cotton tape. 
Thread No. 70. 
Needle No. 8. 



INTRODUCTORY STATEMENT. 

Aprons are an absolute necessity to anyone who is doing house- 
work. Even the schoolgirl who may merely assist with some of 
the lighter duties will find it very convenient to have an apron or 
two to slip on over her school dress while at work. An apron is 
more easilj^ made, also much more easily laundered than a dress, 
and will therefore save considerable work. 

It is practical to wear an apron of dark material when scrub- 
bing or cleaning, or doing any sort of work which will soil it. A 
light colored apron looks more attractive for cleaner work. Kitchen 
aprons are usually made of calico, percale, gingham or chambray; 
such aprons should be made large enough to protect the dress. 

The apron in this lesson, though somewhat unusual in style, is 
very easily made, covers the dress well and is easily put on and 
taken off; it therefore makes a very satisfactory kitchen apron. 



References: 

Process of Calico Printing, Great Industries of U. S. 
Household Textiles, Gibbs. WTiitcomb & Barrows. 



106 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




THREE PIECE APRON. 

No. 1. This apron is made from a commercial pattern. The 
straps in the picture are buttoned over without crossing to show the 
shape of the apron. When worn they are crossed in the back. This 
makes a very comfortable apron, as it cannot slip off the shoulders, 
is easily put on, may be opened flat for ironing, and covers the dress 
almost completely. 

BIB APRON. 

No. 2. This apron is more elaborate than No. 1. It should be 
made of a light gingham or percale and trimmed with bands of bias 
material of a contrasting color. It may be made from a commercial 
pattern, or by using three gores out of a five gored skirt pattern, 
pointing them at the bottom as in the illustration. A bib similar to 
this one may be cut freehand and pinned to the front gore of the 
pattern. The straps crossing in the back of this apron keep the bib 
from slipping off the shoulders; they are buttoned onto the band. 



107 
WORKING DIRECTIONS FOR KITCHEN APRON 

PREPARING MATERIAL. 

If the material is a yard wide and the proper amount has been 
torn off, simply straighten it (Chap. II, Par. 101). If the edges have 
been cut, even them (Chap. II, Par. 102). If the material is less than 
a yard wide, measure and tear off two pieces, each one yard long. 
As the material should be one yard (36" wide) pin the selvages 
of these two pieces together and tear off enough from one strip to 
leave a piece one yard wide (where the narrower material is used 
it is advisable to make two aprons at one time so the other half 
width will not be wasted). 

SEWING ON THE EXTRA WIDTH. 

Making the ends even, lay the sides and the two selvage edges 
of the two pieces of material together; baste and stitch with %," 
seam (on sewing machine). (The selvages are likely to pucker when 
laundered, but this difficulty may be overcome by making three or 
four very short, crosswise cuts on the selvages), 

SHAPING TOP OF APRON. 

- You will notice in the illustration that this apron is simply a 
square of cloth turned cornerwise, with the point cut off at the top. 
To cut off this point, measure from the top corner out on each ad- 
joining edge about 10". Mark on the edge with pins and turn back 
the corner of the cloth until a straight fold is formed between the 
two pins; crease sharply. Cut off the point, using the crease as a 
guide. 

Finish the edges of the apron by trimming off the selvage, or 
selvages, and turn a ^4" hem with a narrow first turning all the 
way around them; crease it firmly in place. Baste with even basting 
(Chap. II, Par. 103). The edges are trimmed with rickrack braid 
which should be basted on before the hem is sewed in place. To put 
on the rickrack, lay it on the hem on the wrong side of the apron so 
the points ^^^ll extend over the edge and show on the right side. Baste 
it to the edge of the apron with short, even basting stitches (be care- 
ful to turn the corners neatly, mitering the rickrack if necessary. 
Chap. II, Par. 146). Stitch through the rickrack close to the edge of 
the apron with the sewing machine (Chap. II, Par. 164), then stitch 
f trough it again along the edge of the hem. 



108 



SEWING ON TAPE. 

Before sewing on the tape, hold the apron up to you as it should 
be when completed and adjust the tape, placing it in the proper 
position on the top edge of the apron and making it the proper length. 
Pin it in place. To sew on the tape, turn under the raw edges, allow 
it to lap about half an inch on the under side of the apron and sew 
around the overlapping edges with hemming stitches. Adjust the 
tapes on the back of the apron in the same manner and sew them 
in place. 

THE POCKET. 

Cut a 5" square out of the material, taken from the top of the 
apron. Make a ^4" hem across one edge for the top and finish with 
rickrack; round the corners of the opposite edge for the bottom. 
Turn under the raw edges V^" around the sides and bottom. Baste 
to the apron in a convenient position and stitch around the sides and 
bottom with two parallel rows of machine stitching (Chap. II, Par. 
164), or one row of backstitching (Chap. II, Par. 107). 




109 
REVIEW QUESTIONS AND PROBLEMS. 

1. What is the purpose of the himUng on the filing pocket? 

2. What methods would you suggest for hanging a filing pocket? 

3. What plan do you like best for making sleevelets to be used 
in the kitchen? Why? 

4. Name and explain all the stitches used in making the cap. 

5. What sort of material would be suitable for a dust cap? Why? 

6. Why is it better to keep silverware in a case rather than loose 
in a drawer? 

7. What sort of material is most suitable for a silverware case? 
What is it worth per yard? 

8. What points should be considered in selecting material and 
designing a school bag? 

9. What kind of cloth is most suitable for dusting purposes? 
If you have used oil or furniture polish on the cloth how should the 
cloth be treated after using it? 

10. Why is a coarsely woven material most suitable for a towel? 

11. What is the price per yard of good towel crash? 

12. Why is the larger roller towel less desirable than the small 
hand towels? 

13. What is the purpose of a dresser scarf? What kind of 
material would you select for this purpose? 

14. What points would you consider in selecting the color and 
design for a dresser scarf? 

15. What stitches would you use in making a dresser scarf? 

16. Why is an apron an important garment about the house? 

17. What kind of material is most suitable for kitchen aprons? 

18. Explain the dilTerence between calico and gingham. 



no 

SUGGESTIONS FOR HOME APPLICATION. 

In the spring and fall before buying new clothes for the coming 
season the left-overs should be gone over carefully. With a com- 
paratively small amount of work many of the old garments may be 
made wearable thereby effecting a considerable saving in the outlay 
of money. With the experience you should have had in sewing after 
completing this section, you should be able to do much of the simple 
remodeling that maj'^ be necessary on your own clothes. 

After discussing the matter with your mother and studying the 
suggestions given below, perhaps she will be very glad to let you do 
this work, or at least assist her. 

SUGGESTIONS FOR LENGTHENING SKIRTS. 

1. With a Hem. 

A wide hem, if it is not worn or discolored on the lower edge, may 
be ripped and folded up again as far as necessary to make the skirt 
the right length. It should be basted and then stitched in place with 
the sewing machine. 

2. With a Facing. 

If the hem must be unfolded the full width to make the skirt the 
desired length, face it. This may be done by stitching another piece 
of material, preferably about the width of the hem, on the bottom 
edge, turning it to the wrong side and finishing it the same as a hem. 
This piece should correspond with the material in the skirt; it may 
be cut on the bias, or if the skirt is gored, a straight strip may be 
fitted to the bottom of the skirt. Extra fullness in the upper edge of 
the facing may be pleated in. If the skirt is made of wash material 
which has been laundered, the strip used for facing should be shrunk- 
en. Tliis may be done by wetting it thoroughly and pressing it when 
partially dry. 

3. With a Set-on Piece. 

Where neither of the above methods can be used, a straight or 
ungored skirt may often be satisfactorily lengthened by setting on 
a piece of some contrasting material at the bottom; plaid or a 
striped material may be used on plain goods, or plain goods set on 
figured material. This strip should be cut wide enough to lengthen 
the skirt as much as needed and also provide material to turn back 
on the right side the width desired. It should be neatly stitched 
in place. 



Ill 

4. With Insertion or Lace. 

An under skirt may be lengthened by cutting it in two crosswise 
and setting in a band of embroidery insertion, using a lapped seam 
(Chap. II, Par. 139); or lace insertion may be used, sewing it in the 
same as directed for the dresser scarf (Page 103), except that in this 
case you baste the lace %" over the raw edge instead of cutting the 
material out under it. 

5. With Tucks. 

If there are tucks in the skirt these may be ripped and carefully 
pressed to provide the required length. (It is better to pull the threads 
of the stitching than to cut them as there is great danger of cutting 
holes in the material if you use the scissors or a knife.) 

SUGGESTIONS FOR REPAIRING HEM. 

When the edge of a cotton garment is worn it may be trimmed 
and the raw edges turned in and stitched. A neater way is to rip 
the hem, fold it back on the right side of the material, stitch it in far 
enough from the edge to escape the worn places, then turn it back 
(to its original position) and baste and stitch in i)lace. This second 
method should be used on woolen garments. 

SUGGESTIONS FOR REPAIRING WORN RANDS. 

Where the buttonholes are badly torn, or the material under the 
buttons, hooks or eyes has been torn away, it is well to rip the band 
back to a strong place and set on a new piece, making it a continua- 
tion of the band. Work new buttonholes, or sew the necessary 
fastenings on the renewed band. 




112 



INTRODUCTION TO SECTION III 

THE projects set forth in this section are a little more advanced 
than those of the preceding sections, but if students have given 

careful attention to the detail of the fundamental processes they 
will not find these lessons difficult. 

While the projects are not arranged in absolute order of sequence 
of processes, and while they may not present a constant increase in 
difficulty, yet the order in which they occur will be found a very 
satisfactory way in which to take them up with the class. It is not 
the thought that each student should begin at the first of the list of 
lessons and complete every one in the section, but it is important 
that promiscuous selection, prompted merely by curiosity, should 
not be permitted. 

The teacher who understands the strong points as well as the 
weaknesses of the students can best advise each one what lesson she 
should undertake in order to give her proper exercise of the ability 
already acquired, and lead her into new principles and processes in 
a consistent way. 

This must not be interpreted to mean that the choice of the 
student is to be ignored, in fact the spirit of independent thinking 
must be encouraged. In each project will be found considerable 
latitude for the exercise and development of individual taste. 

The paragraph references to the Supplement are continued and 
should have as frequent consideration as is necessary to insure form- 
ation of correct habits of work. 



113 

TRAVELING CASE 

MATERIALS. 
Cretonne (Chap. I, Par. 12). 

V2 yard cretonne at least 17" 
wide. 

V2 yard white rubber lining, 

same width (if used). 
IVo yards bias tape %" wide. 
1 snap. 

Thread No. 70. 
Needle No. 8. 




INTRODUCTORY STATEMENT. 

When traveling, time and worry may be saved by having a 
receptacle for all of your toilet articles so you can carry them with 
you to the dressing room on the car, or easily find them when needed 
without looking in the different corners of your grip. The traveling 
case which answers this purpose has come to be a real necessity. 

As the traveling case is usually subjected to more or less strain, 
it should be made of serviceable material. Cretonne is a fabric 
which lends itself very well to this use. The traveling case is often 
lined with white rubber cloth, which makes it possible to place a 
damp tooth brush or wash cloth in the case without danger of in- 
juring or wetting other articles in the grip. Oftentimes the wash 
cloth is kept in a rubber lined case by itself. 

The case shown in this lesson is very simple in construction. 
However, it will be found very convenient, as it provides pockets for 
the brush and comb, tooth brush and wash cloth, with sufficient 
room for other small articles. 



References: 



Educational Xeedlecraft, Swanson & Macbeth. Man. Arts Press. 
Handicraft for Girls, McGauflin. Manual Arts Press. 



114 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




No. 



STATIONERY CASE, 
1. This case is made of cretonne with two pockets the 



proper size for the envelopes and paper. The edges are finished 
with bias tape. 

TRAVELING CASE. 

No. 2. This traveling case is made of cretonne. The pockets 
and flaps are separate pieces sewed on. The edges are finished with 
bias tape. It is lined with white rubber. 

SPOOL CASE. 

No. 3. This case is made of green undressed kid, cut out at the 
corners so it can be folded up to form the oblong case shown in 
the illustration. The cover is made separate. The edges are bound 
with green ribbon. Ribbon laced through holes in the sides of the 
case pass through the spools and hold them. 

SLIPPER CASE. 

No. 4. This project consists of two similar cases made of cre- 
tonne; each one is just large enough to hold a slipper. The edges are 
finished with bias tape. 



115 

WORKING DIRECTIONS FOR TRAVELING CASE 

PREPARING MATERIAL. 

Straighten two adjoining edges (Chap. II, Par. 102). On the 
shorter edge, measure out 16y2", the width of the traveling case; 
draw a thread lengthwise and cut on the line. On the longer edge 
measure down 18", the length of the traveling case before folding. 
Draw a thread crosswise and cut on the line. 

CUTTING FLAP. 

TTiis traveling case is made from a strip of cloth, one end of 
which is pointed and used as a flap; the other end is turned up to 
form a pocket. To make the end pointed for the flap, find the center 
by laying the two long edges together; crease on the fold, open the 
material. From one corner measure down iVz". Mark with a pin. 
Fold the cover over until a straight fold connects the end of the 
center creases and the point marked with the pin. Crease with 
thumb nail; open material, cut on the line formed by the crease. 
On the same end, measure, fold and trim ofT the other corner in like 
manner. 

FORMING POCKET. 

A traveling case is more serviceable if lined with white rubber. 
If the case is to be lined, it should be done now. (To do tihis, cut 
a piece of white rubber cloth or oiled silk the same size and shape 
as the traveling case. Baste it to the case on the edges only, keep- 
ing it smooth and free from wrinkles on the surface). The lower 
edge is to be folded up to the flap to form the pocket. Before fold- 
ing it, finish the raw edge (at the bottom) with bias tape. 

Folded bias tape may be used, or bias strips %" wide may be 
cut and the edges folded in to make them % " wide (Chap. II, Par.143). 
To sew on the tape, lay the right side of the tape next to the wrong 
side of the material, with the edges even, baste along the line of the 
crease with even basting (Chap. II, Par. 103); stitch in place with 
the sewing machine (Chap. II, Par. 164) or with fine running stitches 
(Chap. II, Par. 106); remove the bastings, turn the other folded edge 
of the tape over to the right side of the material, with the edge as 
nearly opposite the edge of the other side as possible; baste it in 
place with even basting and stitch close to the edge with the sewing 
machine. Remove basting thread. As the pocket is to be 6" deep, 
fold it up that depth (to the beginning of the flap) with the right 
side out. Baste the edges together with uneven basting (Chap 11, 
Par. 104). 



116 

The raw edges of the traveling case are to be finished with 
bias tape also, fastening the pockets in place at the same time. After 
turning under one end of the tape, sew it on the raw edge around 
the case the same way that you sewed it on the edge of the pocket, 
folding it to fit around the corners (it will not be necessary to sew 
these folded corners as they are too narrow to require it). Finish 
the other end of the bias tape by turning it under as you did the 
first. Remove bastings. 

SEWING ON FASTENERS. 

This traveling case is held shut with a snap. Sew the smaller 
part of the snap on the point of the flap (Chap. II, Par. 133) (be care- 
ful not to let the stitches show on the right side). To find the place 
in which to sew the other part of the snap, fold the flap over the 
pocket, close the lower part of the snap onto the upper part, then 
while holding the lower part in its proper position, pull the upper 
part away from it; sew on the lower part of the snap, being careful 
not to sew through to the back of the case. 

If desired, the pocket may be divided into sections suitable for 
holding different toilet articles. To make a pocket for the wash 
cloth, make a row of parallel stitching SVi " from the edge of the case. 
Another line of stitching parallel with this, 1" away, will provide a 
pocket for the tooth brush. The remainder of the case may be used 
for the brush and comb as shown in the illustration. 




117 




EMBROIDERED 
NAPKIN 

MATERIALS. 

Damask Linen (Chap. I, Par^ 
45). 

1 table napkin. 
White Thread No. 80. 
Needle No. 9. 
Fine embroidery cotton. 
Padding cotton. 
Embroidery needle. 

INTRODUCTORY STATEMENT. 

Fine linen gives a distinction to the appearance of the table which 
can be obtained in no other way. For this reason, linen has long 
been popular as the choice table covering. On account of the great 
demand for this fabric it is frequently adulterated. 

To be able to select table linen wisely requires considerable 
study and experience. Cotton is so cleverly made to imitate linen 
that it is often difficult to distinguish its presence when mixed with 
linen. It shows very plainly, however, after the linen is laundered, 
as the ironing gives linen a fine gloss which cannot be obtained on 
a piece of material containing much cotton. 

The double damask is very serviceable and with careful treat- 
ment, table cloths and napkins made from this material will last a 
number of years. As a good linen gives such excellent service, it pays- 
to finish the edges by hand. 

The napkin, finished with a French hem, in this lesson, gives- 
an example of the most common method used in finishing the ends 
of both napkins and table cloths. This form of hem is very neat and 
serviceable. 



References: 



Flax, Shelter and Clothing, Kinne and Cooley. Macmillan. 

The Linen Industry. Textiles, \A'onlnian & McGowan. Macmillan. 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




PLAIN NAPKIN. 

No. 1. This napkin is made like the one described in the lesson 
with the initial omitted. 

LUNCHEON NAPKIN. 
No. 2. This napkin is made of plain linen. The hems are held in 
place with double overcasting stitches made to cross each other. The 
design is worked in cross-stitch. 

LUNCHEON NAPKIN. 
No. 3. This napkin is finished with a crocheted edge. 

LUNCHEON NAPKIN. 
No. 4. This napkin is finished with a plain scalloped edge. 

FRINGED NAPKIN. 
No. 5. This is a luncheon napkin with fringed edges made by 
hemstitching the napkin about one inch from the edge and raveling 
the threads up to the hemstitching. 

LUNCHEON NAPKIN. 
No. 6. This napkin is finished with hemstitched hems, and em- 
broidered with the satin stitch. 



119 

WORKING DIRECTIONS FOR EMBROIDERED NAPKIN 

PREPARING MATERIAL. 

Napkins are rarely sold singly; they are usually joined in a 
long strip with six or twelve in a set; two or three coarse threads, 
mark the dividing line between the napkins. To separate the nap- 
kins, cut between two of these coarse threads. If necessary, straighten 
the edges of the end napkin (Chap. II, Par. 102). 

FINISHING RAW EDGES. 

Ordinarily napkins are finished only on the two raw edges, the 
two selvages being left as they are. The hems of the cheaper napkins 
which are used daily are sometimes stitched on the sewing machine 
to save time, but fine table napkins should always be hemmed by- 
hand. The French hem (Chap. II, Par. 119) used to finish the raw 
edges of the napkin in this lesson is more commonly used than any 
other. It is neat , strong and very easy to make. This hem should 
be rather narrow (about Vs or A" is considered a good width). 

If desired, the hems may be finished with hemstitching (Chap. 
II, Par. 115) or with damask hemstitching (Chap. II, Par. 117). 

Luncheon napkins, which are always smaller in size than the reg- 
ular napkins, may be finished more elaborately. They are usually 
hemmed on four sides. A hemstitched hem is frequently used; a 
narrow edging of crocheting is also quite common. 

DESIGN. 

Table linen is embroidered very little, as the beauty of the linen 
is considered its chief attraction, and it is not necessary to enhance 
it with elaborate forms of needlework. However, it is customary 
to mark each napkin with an embroidered initial or monogram (in- 
terwoven initials). Table linen for a bride elect should be marked 
with the initials of her maiden name; the matron should, of course, 
use the initials of her name after marriage. While any style of in- 
itial may be used to suit the individual taste, old English or script 
is probably more commonly used than others. 

The initial may be placed diagonally in one corner of the napkin. 
If the center of the napkin contains a wreath design, the initial may 
be placed in the center of this design. When this napkin is laundered 
it should be folded in thirds lengthwise, then in thirds crosswise. 
This will show the initial in the center of the folded napkin. 



120 

TRANSFERRING AND WORKING DESIGN. 

Select an initial. If a commercial pattern is used, transfer the 
initial to the napkin by placing the rough side down over the place 
selected, and pressing with a hot iron; remove the pattern. If neces- 
sary, transfer your design with carbon paper by placing a piece 
slightly larger than the initial over the proper place in the napkin; 
place pattern for the initial over this, pinning it to keep it from slip- 
ping; trace the initial with a lead pencil. Remove the pattern and 
carbon paper; work the initial. 

This initial is to be worked with the satin stitch (Chap. II, Par. 
131). It should be padded. The padding should be thicker in the 
center than on the edges in order to make the letter rounding. 

Paper Mache letters may be purchased and used in embroidering 
initials. When they are used it is not necessary to use a design for 
the initial on the napkin, nor to do any padding. Each paper mache 
letter should be sewed securely in place with the satin stitch, lliese 
letters will crack in time and are not as satisfactory as the letters 
worked over the padded design. 

FINISHING TABLE CLOTHS. 

The ends of the table cloth should be finished the same as the 
napkins. The initial, or monogram, may be placed in the center, if 
there is a wreath design (any table decorations in the center of the 
table will cover this, however). The design is often placed diagonally 
in one corner inside of the border, or straight across one end (inside 
of the border). 




121 




SHOP APRON 

MATERIALS. 
Denim (Chap. I, Par. 14). 

%yard Denim. 
2 yards mercerized tape. 
White thread No. 50. 
Needle No. 6. 



INTRODUCTORY STATEMENT. 

"When working in the manual training shop, it is quite necessary 
for a boy to wear an apron of some sort to protect his clothes from 
the wear of tools and materials and from the spots of stain and varn- 
ish which are generally quit plentiful. 

This apron should be made rather short so as not to interfere 
with the free movements necessary in this work. As it is subjected 
to hard wear it should be made of a strong material. Denim, ticking 
or duck are generally used. 

While a satisfactory apron may be bought, it can be made with 
less expense at school or at home. In some schools, the girls in the 
sewing class are very glad to repay the boys for services rendered 
in repairing equipment in the sewing room by making their shop 
aprons for them. This shows a fine spirit of cooperation. 

The apron shown in this lesson can be very easily and quickly 
made; the size and arrangement of pockets is a matter to be deter- 
mined by the wearer. 



References: 

Useful Fiber Plants, Dodge. 

Spinning and Weaving, Textiles, Woolman & McGowan. 



Macniillan. 



122 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




SHOP APRON. 

No. 1. This is a very common style of shop apron provided with 
two large pockets for nails and a small pocket for ruler and lead 
pencil. These nail pockets should be set on with considerable full- 
ness so they will stand open, allowing easy access to the nails. 

CHILD'S PLAY APRON. 

No. 2. This apron may be used by a child to protect the cloth- 
ing while working in clay modeling, or at mud pie making. 



NAIL APRON. 

No. 3. This is a very common style of apron used by carpenters. 
While it does not offer much protection to the clothing, it is con- 
venient for carrving nails. 



123 

WORKING DIRECTIONS FOR SHOP APRON 

PREPARING MATERIAL. 

Straighten the raw edge on one end (Chap. II, Par. 102). Meas- 
ure down one selvage 27" (the length of the apron); this may be too 
long for a small boy. If it is, make it the length desired. Draw a 
thread crosswise and cut on the line. The selvages may be left to 
finish the hems on the sides, for the selvages on this heavy material 
are not likely to pucker when laundered; they will make a firm 
finish for the hems. 

SHAPING THE APRON. 

This apron is curved under the arms, but as no sleeve is in- 
serted, it is not necessary to cut the curves as accurately as you 
otherwise w^ould. To locate the top of the curve, find the center of 
the apron lengthwise by folding the two long edges together evenly; 
crease en the fold. On one end of the apron (this is to be the top) 
measure out from the center fold 6" (half the width of the top of the 
apron); mark with a pin. To locate the bottom of the curve, measure 
down from the upper unfolded corner 8^2"; mark with a pin. With 
a piece of tailor's chalk, or ordinary crayon, which has been sharp- 
ened to a point, mark an inward curve, connecting the two points 
marked by the pins. Cut through both thicknesses of the material 
around the curve. If the cloth is too thick to allow you to cut two 
thicknesses at a time, cut on the curve on the upper side first; use 
it as a guide to cut out the curve on the other side. 

SEWING ON TAPES AND TURNING HEMS. 

To find the length of the tape for the neck, pin one end of the 
tape to the top edge of the apron near the arm curve; holding the 
apron up to the person for whom it is intended, bring the tape around 
the back of the neck, adjust the apron to the proper length and pin 
tape on the edge near the other corner of the top of the apron. Cut 
off the extra tape; divide in two pieces of equal length and use these 
pieces for apron strings. The tape for the neck is to be stitched in 
with the top hem of the apron. To do this, unpin the ends of the 
tape and baste them on the right side of the material, even with the 
edge in the place they were pinned, near the top of the arm curve. 

Fold and baste a Va" hem around the arm curve and the top 
of the apron, turning in the ends of the tape with the hem. Stitch 
these hems in place with the other hems of the apron. The tapes 
which are to be used for strings are to be sewed to the straight edges, 



124 

at the back near the arm curves; as they are to be stitched with the 
hem, lay the end of one piece of tape on the right side of the apron, 
allowing the end to extend over the selvage about i/4". Turn this 
edge under and pin it in place. In the same manner place the other 
piece of tape on the opposite edge of the apron even with the first 
tape. Beginning at the bottom of each long edge, fold V^" hem with- 
out a first turning up to the arm curve, turning the ends of the tape 
inside and letting the selvage finish one edge of the hem. Baste 
with even basting; fold and baste a hem about Vl" wide at the bottom 
of the apron, stitch the hems around the edges of the apron on the 
sewing machine, sewing the tape in the edge of the hem as you stitch. 

RULER POCKET (IF DESIRED). 

A pocket may be placed on the apron if desired. This pocket 
may be 5" long and 3" wide with a V2" hem at the top. Turn in the 
other raw edges, crease and baste with uneven basting (Chap. 11, 
Par. 104). Place it on the apron about 2^2" from the left arm hole 
and a few inches from the top of the apron; baste it in place and 
stitch around the edges on the sewing machine. A narrow pocket for 
a pencil may be formed by making a row of stitching through the 
pocket parallel with the sides. 




125 



IRONING BOARD COVER 



''^^^l^^^^^H 


Hi 




U^^^T' 



MATERIALS. 

Muslin (Chap. I, Par, 

27). 

2 yards muslin (un- 
bleached). 

4 yards tape. 

White thread No. 70. 

Needle No. 8. 

1 piece drafting pa- 
per, 30"x62". 



INTRODUCTORY STATEMENT. 

It is very important that the cover on an ironing board should 
be kept clean. If it is not it will soil the clothes that are ironed on 
it. With care, the cover on an ironing board can be kept clean for 
some time, but on account of dirt and the occasional scorching which 
ironing boards are almost sure to get, it will eventually need to be 
removed; if it is tacked to the board permanently this is quite a task. 

A cover which can be easily removed and replaced will be found 
much more satisfactory. Before this cover is placed on it, the iron- 
ing board should be properly padded with several thicknesses of 
canton flannel, hea\y outing flannel or felt (a discarded blanket or 
bed spread will answer this purpose). 

The removable cover shown in this lesson is provided with 
tape strings placed at frequent intervals. These tapes are to be tied 
together under the board, thus making it possible to adjust this cover 
to different sized ironing boards, also to draw it perfectly smooth. 

Unbleached muslin makes a very satisfactory cover, and since 
it is not expensive, it is very commonly used for this purpose. 



References: 



Approved Methods for Home Laundering. Proctor and Gamble Co., Cin., 0. 
Laundry ManuaU Balderston & Lemerick. Whitcomb & Barrows. 
Laundry Manual, Mrs. Lord. Nelson & Son, X. Y. 



12G 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




LARGE IRONING BOARD COVER. 
No. 1. No. 1 is a large ironing board cover, very similar to the 
one in the lesson. It is provided with rings so as to lace around the 
board with tape. The top portion of the ironing board cover is a 
sort of pocket or hood that fits securely over the end of the board, 

PRESSING PAD. 

No. 2. No. 2 is a pressing pad made of hea\'y unbleached muslin 
of two or more thicknesses. It is provided with tapes with which 
it may be fastened in place. It is used in pressing laces and very 
dainty fabrics. 

PRESSING CLOTH. 

No. 3. No. 3 is a large rectangular piece of heavy unbleached 
muslin hemmed on all sides. It is used in pressing garments. 

IRONING BOARD COVER. 
No. 4. This is a large ironing board cover gathered at one end 
and held in place by ties of tape. 



127 

WORKING DIRECTIONS FOR IRONING BOARD COVER 

PREPARING MATERIAL. 

If desired you may make a pattern and cut the ironing board 
cover from it, using the following directions, or you may apply the 
directions directly to the muslin. Straighten one end of the material 
first (Chap. II, Par. 102), then fold it in the center lengthwise. 

LAYING OUT THE COVER. 

As the dimensions are given for one-half of the ironing board 
cover folded lengthwise, first find the center of the paper by folding 
the long edges together evenly. On the straightened end measure 
out from the center fold 15" (half the width of the cover at the wide 
end). Mark this with a dot and call it number 1. From dot 1 meas- 
ure up on the fold 45" (the place where the flap begins); mark with 
a dot, call it number 2. From dot 2 measure out 12" (the width ol 
the ironing board cover at this point); mark ^^^th a dot and call it 
number 3. Connect dots 3 and 1 with a straight line, using a yard 
stick and pencil. As half the flap is 5" narrower than half the iron- 
ing board cover at this point, measure back toward the fold from dot 3, 
mark with a dot, call this number 4. Connect dots 3 and 4 with a 
straight line. P'rom the folded corner at the wide end of the cover 
measure up on the fold 60", the full length of the cover, mark with 
a dot and call it number 5; from dot 5 measure out 6" toward the 
unfolded edge (this is half the width of the narrow end of the flap); 
mark with a dot; call this number 6. Connect dots 6 and 4 with a 
straight line; cut out the pattern for the cover, making it the shape 
shown in the illustration. As the flap is to be made double in order 
to fit over the end of the ironing board, an extra piece must be cut 
out for this purpose. Open the paper and pin the flap end over an- 
other piece of paper large enough to cut the piece exactly like the 
flap, allowing ^2" extra on the wide end for a hem. Cut out the extra 
piece. Fold the long edges of the material for the cover together 
evenly; crease on the fold; lay the straight edge of the pattern on 
the fold of the material; pin it in several places to keep it from slip- 
ping; cut out the cover. 

SETTING ON TAPES. 

The ends of the tapes to be used to tie the cover to the ironing 
l)oard are to be folded under with the hems. Thej^ should be pre- 
pared first. To do this, cut 18 pieces of tape each 8" long. On the 
right side of the cover, beginning at the wide end, lay 9 of these 



128 

strips on the cloth with one end of each even with the edge of the 
cover at equal intervals of 5". Fold, baste with even basting (Chap. 
II, Par. 103) and stitch a hem V^" wide along this edge of the cover 
and the end next to the flap, stitching the tapes under edge of the hem. 
Finish the end of the hem next to the flap by turning in the raw 
edge and sewing it down with hemming stitches (Chap. II, Par. 114). 
Fasten the tapes and make a hem on the opposite edge and end of 
the cover in exactly the same manner. 

Finish the wide end of the cover with a ^A" hem, the same as 
the hems on the edges. 

TO MAKE THE FLAP. 

Make a Vi" hem on the wide end of the extra piece which is to 
be sewed on to the flap end of the ironing board; turning the seam 
toward the wrong side, make the edges even and baste this piece 
to the flap with a i/4" seam. Stitch it in place on the sewing machine 
(Chap. II, Par. 164); turn right side out; remove all bastings. 




129 

CLOTHES PIN APRON 

MATERIALS. 

Ticking (Chap. I, Par. 34) 

or 
Gingham ( Chap. I, Par. 19 ) . 

1 yard ticking or gingham. 
30" bias tape %" wide. 
Thread No. 70. 
Needle No. 8. 




INTRODUCTORY STATEMENT. 

Wash day at its best represents a great deal of hard work, even 
though modern inventions have done much to relieve the housewife 
of some of the drudgery. While the laundries are supplied with 
regular driers in which the clothes are hung and dried very quickly 
with hot air, there is nothing that quite takes the place of sunshine 
and fresh air in drying clothes, and in the average home the clothes 
are still hung out of doors on the line where they are thoroughly 
sweetened with nature's great disinfectants, sunshine and fresh air. 

When clothes are hung out of doors they must be fastened to 
the line with clothes pins. To save stooping to the clothes basket 
each time clothes pins are needed, a clothes pin bag of some sort is 
usually hung over the shoulders or tied around the waist. This bag 
should be made of some firm material, such as ticking, denim or 
galatea cloth. 

While the clothes pin bag does not offer much opportunity for 
originality in design, yet the clothes pin apron shown in this lesson 
has some advantages; it can be tied around the waist, will remain 
open sufficiently to allow easy access to the clothes pins, and will 
also afford some protection to the clothing. 



References: 

Laundry Work, Shepperd. Webb Publishing Co., St. Paul. 
House Sanitation, Talbot. Manual .\rts Press. 



130 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




CLOTHES PIN BAG. 

No. 1. This model is made very similar to the one described in 
this lesson. The strap which is to be hung over the shoulders is 
substituted for the band which ties around the waist. 

"SUNNY MUNDY" APRON. 

No. 2. This apron is also made very much like the one shown in 
the lesson, the pockets are rounded out at the corners. The outside 
edge is bound with bias tape the same as that used in binding the 
pockets. 

CRASH CLOTHES PIN BAG. 

No. 3. This is an ordinary bag gathered at the top to fit a pair 
of embroidery hoops about 6 " in diameter. It should be hung over 
the shoulders with cable cord. 

CLOTHES PIN APRON. 

No. 4. This apron is made from a straight strip of material the 
same width as the shoulders. A round hole is cut for the neck. One 
end forms the back and is gathered into a band; the other end forms 
the front and receives the pocket. 



131 

WORKING DIRECTIONS FOR CLOTHES PIN APRON 

PREPARING MATERIAL. 

This apron is to be made from one strip of ticking one yard 
long by 21" wide. Straighten one end of the material (Chap. II, Par. 
102). Measure down one long edge 36" (one yard), the length of the 
apron and pocket. Tear crosswise, or, draw a thread crosswise and 
cut on the line. Tear off a strip 2y2" wide lengthwise of the material 
(this is to be used for the band). On one end of the material meas- 
ure out 21", the width of the apron; tea,r lengthwise, or cut on a 
thread or stripe of the material. 

CUTTING OUT THE APRON. 

This apron is to be made by cutting a curved piece out of one 
end, finishing this with bias tape, and folding it up even with the 
other end to form the pocket for the clothes pins. To cut out the 
curve, fold the material with the long edges even, crease on the fold 
formed in the center. To mark the top of the curve, measure out 
from the fold on one end lYz"; mark with a pin. On the same end, 
to mark the bottom of the curve, measure down on the fold 8^/2"; 
mark with a pin. Connect the points marked with pins with a curved 
line similar to the one shown in the illustration. Cut on the line 
through both thicknesses of the material. To finish the raw edge 
of the curve, fold it over about Yi"; baste with uneven basting (Chap. 
II, Par. 104); keeping the edges even baste a strip of bias tape over 
the folded edge, stretching it around the curve where necessary to 
keep it smooth; stitch on both edges with the sewing machine (Chap. 
II, Par. 164).. Remove bastings. 

BINDING AND SEWING UP THE POCKET. 

With the bias tape turned inside, fold this curved out end up 
to the opposite one, making the straight edges even (you will notice 
about 2" on each side of this end are left straight). The fold will 
form the bottom of the apron. Round the corners of the folded edge, 
as in the illustration. Baste the edges along the sides and bottom 
together with uneven basting (Chap. II, Par. 104) and stitch in a V^" 
seam with the sewing machine (Chap. II, Par. 164). Remove the 
bastings, turn the apron right side out and stitch near the edge again 
on the right side. Divide the pocket into two parts by stitching it 
to the back of the apron on the center crease. 



132 

CURVING AND GATHERING THE TOP. 

To make it fit tlie curve of tlie waist at the waist line it is 
necessary to hollow, or curve the front of an apron slightly. To do 
this, measure down on the center crease of the apron 1/2" from the 
top. Mark with a pin, fold the apron on the center crease and, be- 
ginning where the curved edge of the pocket joins the apron, cut 
a slightly curved line (through both thicknesses) to the point marked 
with the pin. As the apron is to be gathered onto the band slightly 
to make it set neatly, begin 2" from each side of the center and gather 
the top of the apron (Chap. II, Par. 141). Draw the gathers tight 
enough to make each half of the apron 8" across the top. 

SEWING ON BAND. 

Use the strip 36" long and 2y2" wide for the band. This band 
is to be made long enough to tie in the back. 

To sew it on, first mark the center by folding the two ends to- 
gether and creasing on the fold. With this center crease placed on 
the center crease of the apron, sew and baste one edge of the band 
to the top edge of the apron, turning the seam toward the right side. 
Stitch together with the sewing machine (Chap. II, Par. 164). Turn in 
the other edge of the band and fold it over just beyond the first 
stitching; pin, baste carefully in place, and stitch with the sewing 
machine. Finish the remaining raw edges of the band with a ^4" 
hem stitched on the sewing machine. Make two parallel rows of 
stitching across the band where it begins to join the apron. 




133 




SCALLOPED 
TOWEL 

MATERIALS. 

Huckaback (Chap. I, Par. 47) 

ci* 
Damask (Chap. I, Par. 45). 

P/4 yards of linen toweling. 
Embroidery cotton. 
Embroidery needle. 



INTRODUCTORY STATEMENT. 

Since the ends of the towels must be finished with hems or some 
stitch like the loop stitch, it is interesting to observe the great variety 
of ways in which these two methods are varied. The hems are made 
in varying widths, finished with plain and fancy stitches. They may 
be left without ornament on the edge or finished with crocheted 
lace, or tatting, to suit individual taste. The other method, the loop 
stitch, is employed in making scallops of varying sizes and shapes. 

It is always advisable to use a good quality of linen for hand 
embroidered towels in order that the quality of the material may 
correspond with the artistic work. 

An embroidered initial or design is usually worked above the 
scalloped edge, but a towel made like the one in this lesson, which is 
finished with the scalloped edge alone, will be very pleasing. 



References: 



Art in Needlework, Day. Manual Art Press. 
Embroideries and Their Stitches. Buttrick Pub. Co., N. Y, 



134 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




SCALLOPED TOWEL. 

No. L This towel has a scalloped edge like the one described 
in this lesson. A design placed above it is worked with eyelet and 
satin stitch embroidery. 

FANCY SCALLOPED TOWEL 

No. 2. This towel is made with a deep scalloped edge. The de- 
sign above the edge is worked with cross-stitches. The old English 
initial is worked with the satin stitch. 

SCALLOPED TOWEL. 

No. 3. This towel is finished at the ends with more elaborate 
scallops than those shown on the other towels; there are 5 tiny 
scallops included in one large scallop. The towel is embroidered with 
an eyelet above each scallop and an initial worked with the satin 
stitch. 

SMALL BATH TOWEL. 

No. 4. This towel shows the effectiveness of the outline etching 
stitch, French knots and lazy daisy stitches worked in colors on the 
end of a bath towel. The scalloped edge is worked in a color which 
harmonizes with the colors used in the embroidery stitch. 



135 
WORKING DIRECTIONS FOR SCALLOPED TOWEL 

PREPARING MATERIAL. 
Straighten the ends of material (Chap. II, Par. 102). 

TO TRANSFER THE PATTERN. 

The scalloped edge used on the towel in this lesson is a plain 
scallop. It may be designed on a piece of paper in the following 
manner; draw a pencil line V2" from, and parallel with, the end of 
the pattern. Using a penny as a pattern lay out the bottom of the 
scallops even with this line, with some object about the size of a 
half dollar, lay out the top edges of the scallops. 

If you make your own design it must be transferred to the edge 
of the towel with carbon paper. To do this, cut a strip of carbon 
paper a trifle wider than the scallop, place it carbon side down about 
half an inch above the edge of the towel (the scallops are likely to 
stretch if worked on the extreme edge). Place the pattern for the 
scallop over the carbon paper, pin it to the material in two or three 
places to keep it from slipping, trace around the scallops, remove the 
carbon paper and pattern and work the scallops. 

Commercial patterns for scallops are made in long strips and are 
very easily transferred by placing the rough side down on the de- 
sired place and pressing it with a hot iron. 

TO WORK THE SCALLOPS. 

When doing embroidery work, most people prefer to keep the 
cloth smooth by stretching the material over embroidery hoops. It 
is frequently necessary to baste a straight piece of lawn on the edge 
below the scallops (so the hoops may hold the material securely). 
Scallops may be worked with white or dainty colored embroidery 
cotton; either coarse or fine may be used, but they should be padded 
with the same colored thread used in working them. The padding 
may be done by holding a regular padding cotton or rope even with 
the lower edge of the scallops covering it as you embroider with ths 
loop stitch; if the scallops are used with white thread, they may be 
padded with darning cotton. (The padding cotton is usually heavier 
than that used for the finishing stitch.) 

To pad the scallops make the outline etching stitch (Chap. II, 
Par. 125) or the chain stitch (Chap. II, Par. 126), around the edges 



136 



of the scallop first, then fill in the centers. The stitches may be rather 
long but should be kept smooth and even. After the scallops are 
padded, begin at the left side and work them with the loop stitch 
( Chap. II, Par. 128), keeping the stitches very close and even on the 
edges of the scallops. Both ends of the towel should be finished in 
the same manner. Cut out the scallops and work over the edge with 
the buttonhole stitch (Chap. II, Par. 136). An initial may be placed 
in the middle of one end of the towel. This initial can be transferred 
to the towel in the same manner as the pattern for the scallops; it 
should be worked with the satin stitch. (Chap. II, Par. 131). 



137 



k 



FANCY APRON 

MATERIALS. 
Lawn (Chap. I, Par. 23). 

IVi yards lawn. 
Thread No. 90. 
Needle No. 8. 



INTRODUCTORY STATEMENT. 

As there are so many uses for small aprons, it is very desirable 
to have several of them. A small apron can be worn many times 
when a large apron would be inappropriate; it is indispensable when 
preparing a chafing dish supper; it protects the sewing when doing 
any kind of needle work, and may be worn when preparing or serving 
a simple meal. 

The material used in making a small apron should be dainty. 
Lawn, organdie, dimity, fine muslin or soft mercerized white goods of 
any kind is satisfactory. The delicate colored, sheer wash materials 
are also very popular for this purpose. 

Earlier in this book a sewing apron is suggested. It is made in 
a very simple way while the apron suggested in this lesson embodies 
most of the principles employed in making any apron which is set on 
a band. It will serve as a foundation from which to develop almost 
any style of fancy apron. 



References: 



A Sewing Course, Woolman. Teachers' College, N. Y. 
Cotton from. Fiber to Fabric, Posselt, Vo. IX. 



138 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




FANCY GORED APRON. 
No. 1. This apron is made with three gores joined with lapped 
seams. The slightly curved hem is set on with embroidery insertion. 

FANCY APRON. 

No. 2. This apron shows a combination of white and a dainty 
colored material in a one piece apron with a bib. The colored ma- 
terial is cut to fit the outside edge of the apron and scalloped as you 
see in the illustration. EMBROIDERED APRON. 

No. 3. This is a circular apron trimmed with lace sewed on a 
rolled hem. The apron is embroidered with a combination of satin 
stitches and eyelets. FANCY APRON. 

No. 4. This model is much like the one described in this lesson. 
It is more elaborate with lace trimming and hand embroidery. 



139 
WORKING DIRECTIONS FOR FANCY APRON 

PREPARING MATERIAL. 

Straighten one end of the material (Chap. II, Par. 102). On one 
selvage edge measure down 24 y2" (the length of the apron plus the 
hem). Draw a thread crosswise and cut on the line. The strings and 
band are to be made from the remaining material. Measure out 4" 
the width of one string. Draw a thread lengthwise. From the line 
formed, measure out again on the same edge 4", the width of the other 
string; draw a thread lengthwise. From the line formed measure out 
21^" for the band. Cut on the lines and pin together the pieces for 
the strings so they will not be mislaid. 

PUTTING ON THE BAND. 

As this apron is to be made the width of the material, the selvage 
edges may be used for the edges of the apron. As it is not gored it is 
necessary to gather it across the top to make it fit properly. 

Before gathering, mark the center of one end, with a pin, call this 
the top. Gather one edge of the material (Chap. II, Par. 141), draw up 
the gathers until the top of the apron measures about 16" wide. Find 
the center of the band by laying the two ends together, crease on the 
fold; lay this crease on the center crease of the apron; pin and baste 
one edge of the band to the top edge of the apron, turning the seams 
toward the right side. (This will be stitched on the sewing machine 
after the strings have been basted into the ends of the band.) Turn 
in the raw edges on the ends and the unstitched edge of the band; 
fold the band over the gathers just beyond the first stitching; pin, 
baste carefully in place. This is to be stitched with the sewing ma- 
chine after the ends of the strings are basted in the band. 

TO MAKE THE STRINGS. 

Turn a narrow hem (about Vs" wide on each long edge), baste and 
stitch on the sewing machine (Chap. II, Par. 164) or hem by hand 
(Chap. II, Par. 114). On one end of each string turn a ^V' hem; baste 
and stitch or hem in place. To set the strings into the band, lay two 
or three pleats in the unhemmed end of each string to make it just fit 
inside the opening at the ends of the band. 

Place the pleated end of one string inside one end of the band 
about 1/4" and baste in place; insert the other string in like manner. 



140 

Stitch with the sewing machine on the right side, entirely around the 
edge of the band. 

PUTTING IN THE HEM AT THE BOTTOM. 

Make a hem 5" wide at the bottom of the apron. If you desire 
the apron longer, make the hem narrower, or if you would like it 
shorter, make the hem wider. Baste the hem in place with even 
basting and stitch in place with the sewing machine. Overhand the 
open edges of the hem together (Chap. II, Par. 109). This hem may 
be finished with hemstitching (Chap. II, Par. 115 or 116) or with 
featherstitching (Chap. II, Par. 121) on the right side. 




141 




BEDROOM 
SLIPPERS 

MATERIALS. 

2 skeins Germantown yam 
(color desired). 

1 skein Germantown yarn 
(white or contrasting color). 

1 pair slipper soles (size de- 
sired). 

1 bone hook. 

Thread No. 60. 

Needle No. 5. 



INTRODUCTORY STATEMENT. 

It is quite important that everyone should have some kind of 
footwear that can be easily slipped on when it is found necessary to 
walk about the house after the shoes have been removed. This is 
necessary not only to provide comfort, but also to safeguard the health. 

Yarn slippers with soles of soft wooly material will be found 
very warm, comfortable and easy to slip on. During extremely cold 
weather they will serve as slumber slippers to keep the feet warm 
in bed. 

The slippers shown in this lesson are easily crocheted; the com- 
bination of two contrasting colors makes them very attractive. 



References: 



Book of the Use of Yarns. Horstman Co., Philadelphia. 
.Art in Needlework, Day. Manual Arts Press. 



142 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




BED SLIPPERS. 
No. 1. These slippers are made from bath robe material; outing 
flannel may be used. A stocking may be used as a pattern cutting 
the slippers considerably wider at the top for the material will not 
stretch like a stocking. 

INFANT'S BOOTEES. 
No. 2. These are crocheted from white Saxony yarn, trimmed 
with crocheted rows of pink yarn. 

BEDROOM SLIPPERS. 
No. 3. The body of these bedroom slippers is crocheted in the 
same manner as directed in this lesson. The tops are finished with 
crocheted beading and scallops; bands of elastic run through the 
beading hold the slippers on the feet. 

BEDROOM SLIPPERS. 
No. 4. These slippers are made almost the same as the slippers 
described in this lesson, the top being finished with a scalloped edge. 
The ends of the crocheted strings are finished with tassels. 



143 

WORKING DIRECTIONS FOR CROCHETED SLIPPERS 

PREPARING MATERIAL. 

The crocheted slipper in this lesson consists of rows of double 
crocheting which are gradually increased in length from the toe to 
the top of the instep, and crocheted half this width in a straight strip 
long enough to fit around the back of the foot and join the instep of 
the slipper on the opposite side. It is important that you buy the 
slipper soles the proper size before crocheting the slippers as the top 
should be fitted to the sole while crocheting. 

CROCHETING THE BODY OF THE SLIPPER. 

For a No. 5 slipper sole crochet 13 chain stitches (Chap. II, Par. 
155) (a smaller slipper will need fewer chain stitches, but they should 
be uneven in number). Turn over the work and double crochet 
(Chap. II, Par. 157), in each chain stitch. In the seventh chain stitch 
make two crochets (this begins to widen the slipper). Continue 
double crocheting to the end of the chain. Turn over the work and 
double crochet into the upper edge of the first row of double crochet 
stitches, putting in two stitches in the double crochet at the center 
of the row. Continue working back and forth making rows of double 
crocheting in this manner, increasing the row with one extra stitch 
in the center each time until you have reached the top of the instep 
(about 51/4"). 

Begin to make strip to fit around foot as follows: On the last 
row, working from right to left, crochet up to the center only of the 
last row of double crocheting. Turn over the work and continue 
crocheting rows of double crochet until you have a strip long enough 
to reach around the back of the slipper sole to the edge of the instep. 
F'asten to the row of double crocheting on the end of the instep by 
laying the two edges together and drawing the slip stitches through 
the stitch on the edge of each. This forms the body of the slipper. 

CROCHETING COLLAR OF SLIPPER. 

The collar, or rolled over portion of the slipper should be made 
of yarn of a contrasting color. To make it, crochet a chain of stitches 
2" long. Turn the work and make a double crochet in each chain 
stitch; continue making rows of double crocheting back and forth 
until you have a strip long enough to reach around the opening in the 
top of the body of the slipper. 

Laying the long edge of this strip on the inside of the top edge, 
the ends being even with the center of the instep, slip stitch (Chap. II, 



144 

Par. 156) the two edges together; fasten the bottom ends of the collar 
together about V2" with slip stitches. This makes the collar fit more 
closely around the ankle. Turn the slipper wrong side out and over- 
hand it on the inside edge of the slipper sole to the tape provided for 
that purpose along the edge. Turn the slipper right side out. 

TO MAKE THE POMPON. 

Wrap yarn, corresponding with the yarn in the collar, around 
three fingers of the left hand about 12 times. Slip it off the fingers 
and tie the strands together with another piece of yarn. Lay the ends 
of this piece in with the others and about W from the tied place, 
wrap the strands of yarn several times tightly, with white thread. Cut 
off the ends of the yarn where they are not tied about 1" above the 
thread. Rub the cut ends on the palm of one hand to make them 
fluffy. Make two of these pompons and sew them together at the 
closed ends, then sew them on the instep of the slipper below the 
front of collar. 

Make the other slipper in the same manner as this one. 




145 



HANDMADE HANDKERCHIEF 




MATERIALS. 

Handkerchief Linen (Chap. 
I, Par. 46). 

1 piece handkerchief linen 
11" square. 

6-strand D. M. C. embroidery 
cotton No. 25. 

Fine steel crochet hook. 

Thread No. 80. 

Needle No. 9. 



INTRODUCTORY STATEMENT. 

There is a notion that a dainty spotless pocket handkerchief is 
one of the marks of a well bred woman. If you wish to carry a clean 
handkerchief on all occasions, it is quite necessary that you have a 
considerable number of them. Although it is possible to buy them 
at reasonable prices, many girls enjoy making at least some of their 
handkerchiefs. 

Handmade handkerchiefs may be made of fine, soft lawn, but 
fine handkerchief linen is preferable although it is more expensive. 
Linen handkerchiefs wear better than cotton ones. 

Many people prefer to buy plain hemstitched handkerchiefs and 
either finish the edges with lace or crocheting; or make an em- 
broidered initial or design in the corner. This saves the time other- 
wise spent in hemstitching the handkerchief by hand. The handker- 
chief shown in this lesson is finished with a dainty crocheted edge. 
It is made entirely by hand. 



References; 



Linen Trade — Ancient and Modern, Warden. Longsmans, 
Chats on Old Lace and Needlework, E. L. Lowes. 



146 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




HEMSTITCHED HANDKERCHIEF. 
No. 1. This handkerchief is finished with a narrow hem hem- 
stitched by hand. 

FANCY HANDKERCHIEF. 

No. 2. This machine embroidered handkerchief is finislied with 
a narrow lace edging sewed on by hand. 

FANCY HANDKERCHIEF. 
No. 3. This handkerchief is made similar to the one shown in the 
lesson, except that the machine-made hem is cut down to half its 
width and the crocheting done over the remaining half of the hem. 

FANCY HANDKERCHIEF. 
No, 4. This handkerchief shows a more elaborate crocheted 
edge than No. 3. 

HEMSTITCHED HANDKERCHIEF. 

No. 5. This hand hemstitched handkerchief is also decorated 
in two corners with two rows of double hemstitching. 

SCALLOPED HANDKERCHIEF. 

No. 6. This handkerchief is made with hand embroidered scal- 
lops and a hand embroidered design in one corner. 



147 

WORKING DIRECTIONS FOR FANCY HANDKERCHIEF 

PREPARING MATERIAL. 

If necessary, straighten two adjoining edges of the material. 
Measure on each edge 11" the width and length of the handkerchief. 
Draw one thread crosswise, another lengthwise; cut on the lines. 

PREPARING HEM FOR CROCHETING. 

The crocheted edge on this handkerchief is made over a tiny hem 
laid around the edges. This hem should be very narrow (about Vs" 
to 3/16" wide) to give the crocheted edge a dainty appearance. As 
one thread is to be drawn to help you to keep the bottom of the 
hem straight and the crocheting even, measure down about %" from 
one edge and draw a thread. In the same manner draw a thread %" 
from each of the other three edges. On one edge fold a hem with a 
narrow first turning even with the line left by drawing the thread. 
Fold and crease a similar hem on the other three edges. Baste the 
hems in place with even basting (Chap. II, Par. 103). 

CROCHETING THE EDGE. 

While very fine crochet cotton may be used to crochet this edge, 
a fine mercerized embroidery cotton is preferable. The 6-strand 
D. M. C, cotton suggested in the materials will be found very satis- 
factory. Before using it, unwind it from the skein and wrap it on a 
small roll of paper, or an empty spool. You are to use but one of 
these strands for your crocheting. This strand should be saparated 
from the others and wound on a separate roll before you begin to 
crochet. 

The crocheted edge suggested for this handkerchief consists of 
about 12 double crochets drawn through the line at the bottom of tnt 
hem over the edge, one picot (a loop of chain stitches), 12 more 
crochets; another picot and so on around the four edges of the hand- 
kerchief. 

To make this crocheted edge, insert the point of the hook through 
the material on the line left by drawing the thread; draw a loop of 
the crochet thread through the material; draw another loop of thread 
through this one at the edge of the hem; then make 12 double crochets 
(Chap. II, Par. 157), drawing the thread through the line at the 
bottom of the hem and finishing the stitch on the edge of the hem 



148 

each time ; make a picot. To make the picot, make 4 chain stitches 
(Chap. II, Par. 155) and fasten the last chain stitch into the last double 
crochet with a slip stitch (Chap. II, Par. 156); continue making the 
double crocheting as before until you have made 12, then make an- 
other picot. Continue in this manner around the four edges of the 
handkerchief. Fasten the last stitch by drawing a loop of the thread 
through the first double crochet, then the end of the thread through 
this, thus tying a knot. 




149 




CORSET COVER 

MATERIALS. 

1^/4 yards all-over embroid- 
ery. 

1 strip lawn 3" wide and 
length of waist measure 
plus 2". 

3 snaps. 

1 hook and eye, or 
3 buttons. 

% yard embroidery beading. 

2 yards ribbon or lingerie 
tape. 

Thread. No. 80. 

Needle No. 9. 



INTRODUCTORY STATEMENT. 

Now-a-days the fabrics used in making separate wash waists are 
so sheer that it is very necessary to wear pretty lingerie under them. 
All-over embroidery, wide embroidery, or lace edging made for this 
purpose with eyelets near the edge through which to run ribbon 
makes a very efTective corset cover and is very easily made. 

In selecting embroidery for this purpose, examine the edge and 
see that it is firm, as a poor edge will wear ofT ragged in a compara- 
tively short time. The corset cover may be combined with drawers in 
a combination suit. 

The corset cover shown in this lesson is made of embroidery 
edging. If it is not joined to drawers to form a combination suit, it 
may be finished with a peplum to keep it from slipping up on the 
corset. This is left to the option of the wearer. 



References: 

Embroidery, W. G. Townsend. 

Dress Design, Hughes. Manual Arts Press. 



150 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




SLIP-OVER CORSET COVER. 
Nor. L This corset cover is made of one straight strip of em- 
broidery curved out slightly under the arms and held on the shoulders 
Vv'ith straps of embroidery beading. It hangs loose below the waist 

line. 

CREPE DE CHINE CORSET COVER. 

No. 2. This corset cover is very attractive under a thin waist, 
the lace sleeves being very desirable. The bottom is finished with an 
elastic band. It may be made in much the same manner as the corset 
cover described in this lesson. 

LACE CORSET COVER. 
No. 3. This corset cover is made of wide lace flouncing designed 
especially for this purpose. It is fitted slightly under the arms with 
seams and held in place on the shoulders with straps of ribbon. 

ALL-OVER EMRROIDERY CORSET COVER. 
No. 4. This corset cover is made from one strip of all-over 
embroidery, fitted at the shoulders and curved out to fit the neck. 
The bands which finish each end cross at the waist line and button 
at the ends to fit the waist. A commercial pattern may be used for 
this if necessary. 



151 

WORKING DIRECTIONS FOR CORSET COVER 

PREPARING MATERIAL. 

Shrink the embroidery and the lawn for the band by wetting 
them thoroughly, partly drying and then pressing them. Straighten 
the two ends of the embroidery (Chap. II, Par. 102). Cut a length- 
wise strip of lawn 3" wide and 2" longer than the waist measure 
of the band. 

THE PATTERN. 

This corset cover is held on the shoulders with straps of em- 
broidery beading, the scalloped edge of the embroidery forming the 
top edge of the garment. By modifying it slightly, a regular corset 
cover pattern with gathered front may be used in cutting out this 
corset cover. Use a commercial pattern, fitting it to you carefully. You 
are to make the top edge of your corset cover pattern straight. To do 
this, hold it up to the body and turn the upper edge under, forming 
a straight line across the top of both the front and the back of the 
pattern, the distance desired from the neck. 

TO CUT OUT CORSET COVER. 

Fold the ends of the embroidery together evenly, then lay the 
center back of the pattern on the fold formed, with the straight edge 
at the top of the pattern even with the scalloped edge of the em- 
broidery. Pin it in several places. Lay the center front of the pattern 
on the front edges of the material or, if more fullness than the 
pattern allows is needed, place the pattern in from the edges as far as 
necessary to provide for the extra fullness. Cut out the corset cover. 

JOINING SEAMS, FINISHING ARMHOLES. 

A French seam (Chap. II, Par. 137), or felled seam (Chap. II, 
Par. 138) may be used to join the under-arm seam. Baste the under- 
arm seams together and finish with the seam desired. Face the curve 
in each arm hole with a bias strip of lawn about iy2" wide (Chap. II, 
Par. 143). To sew on the facing, let the end extend a trifle above the 
curve of the arm hole, lay it on the right side of the embroidery and 
first baste, then stitch in place with a i/4" seam, holding it rather easy 
around the curve (Chap. II, Par. 164). (If sewed by hand use the 
combination stitch) (Chap. II, Par. 108). Turn the facing to the 
WTong side, baste along the folded edge, turn under the raw edge, 
baste (stretching it if necessary), and sew to the corset cover with 
the hemming stitch (Chap. II, Par. 114), or stitch on the machine 



152 

(Chap. II, Par. 164); turn the raw edges under at the ends and hem 
neatly. Pin or baste the straps on the top of the corset cover as in 
the illustration. Turn in a V2" hem at the front edge. 

GATHERING BOTTOM OF CORSET COVER. 

Mark the center back with a pin at the lower edge. Gather the 
material along this edge to within 2" of each under-arm seam (Chap. 
II, Par. 141). Adjust the gathers to make the bottom of back about 
9" or 10" wide between the under-arm seams. 

Beginning 2V2" from the under-arm seams, gather the front pieces 
along the lower edge to the hems on the front. Adjust the gathers so 
the bottom of the corset cover will be the same size as the waist 
measure, allowing 1" extra for the lapping of the band in front. 

PUTTING ON THE BAND. 

Crease center of band crosswise, place on the wrong side of the 
corset cover with the crease even v,ith the center back. Turn in each 
end of the band V2" and pin even with the front edges of the corset 
cover turning the seams toward the right side, pin the band to the 
corset cover in several places. Try on; adjust gathers and straps on 
shoulders; baste and stitch the band and straps in place. Turn in 
the other raw edge of the band and fold it onto the corset cover 
just a trifle beyond the first stitching. Pin and baste in place. If a 
peplum is desired, attach it now. Drawers may be combined with 
the corset cover by splitting the bottom edge of the band and sewing 
it to the drawers the same as you have sewed it to the corset cover. 
Stitch the band to the corset cover, and peplum or drawers. If 
these are not attached, stitch all the way around the band. Remove 

all bastings. 

FASTENINGS. 

You may sew three snaps on the hems and one hook and eye on 
the band rChap. II, Par. 133) over-lapping the band and hems on the 
front; or buttons and buttonholes may be used placing two button- 
holes in the center of the right hem and one crosswise in the band 
(Chap. II, Par. 136); sew on buttons to correspond with the but- 
tonholes. 



153 
REVIEW QUESTIONS AND PROBLEMS. 

1. What material is most suitable for a traveling case? What 
is it worth per yard? 

2. How can you tell whether so-called "table linen" is really 
linen or cotton? 

3. Why is linen preferable to cotton for table cloths and napkins? 

4. What treatment is sometimes applied to cotton in order to 
give it the appearance of linen? 

5. Inquire at your local dry goods stores and compare the cost 
per yard of genuine table linen and cotton. 

6. What kind of material is most suitable for a shop apron? 
Why? 

7. For what reasons should an ironing board have a cover? 
What material is suitable for this purpose? 

8. What points may be necessary in a clothes pin bag but not 
required in a school bag? 

9. What material would you use for a clothes pin bag? 

10. Explain a method for laying out the scallops on a scalloped 
towel. What common articles about the home may serve this purpose? 

11. What is the purpose of a sewing apron? 

12. What must you watch most carefully in order to make an 
excellent running stitch? 

13. How do you explain the fact that most of our mothers and 
grandmothers were able to do such beautiful plain sewing by hand? 

14. Explain two ways in which bedroom slippers may be made. 
Which do you prefer? Why? 

15. What sort of material would you select for a fancy hand- 
made handkerchief? 

16. Design, draw and explain how you could make an attractive 
handkerchief. 

17. What stitches are used in making the corset cover given in 
this section? What other projects have you made employing those 
same stitches? 

18. What processes have you learned from these lessons which 
you can use in your home work? 



154 

SUGGESTIONS FOR HOME APPLICATION. 

1. While it is very necessary for the beginner to baste seams, 
hems, etc., before stitching them permanently, the skilled seamstress 
saves a great deal of time by pinning raw edges together and stitching 
them without basting. It requires considerable practice to be able 
to do this successfully. 

Using a piece of wash goods that you already have on hand, make 
a pair of sleevelets similar to those given in this section, without 
basting them. Time yourself, do your work carefully, and compare 
the results with work done where you have basted carefully before 
stitching. 

2. Stenciling is used quite commonly for decorating curtains, 
sofa pillows, table runners and many other similar articles in the 
home. Make your own design and stencil a sofa pillow, the curtains 
for your room, or a table runner for a Christmas gift. 

3. Sort out the stockings which are too badly worn for further 
use. Cut ofT the feet, cut open the legs and join the narrow part ot 
one to the wide part of another, forming a square, or oblong. Hem 
the joined pieces on the edges with the sewing machine and use for 
stove cloths; if saturated with furniture polish Ihey will also make 
excellent "dustless dusters"; if folded in quarters, stitched on the 
edges with a loop or ring sewed in one corner for hangers they may 
be used for holders. 

4. You may make an excellent broom cover out of a worn 
Turkish towel. This may be used in dusting hardwood floors, base 
boards, walls or the tops of doors, or window frames. To make this 
cover, patch the towel if necessary, cut off the fringe if there is any, 
fold to form a bag and stitch it together on the sewing machine. 
Sew a tape on one side near the top with which to tie it to the 
broom handle. 

After you have completed the work in Section III you have prob- 
ably had considerable experience in the use of the sewing machine. 
The attachments on the sewing machine add greatly to its value, but 
it requires considerable practice to use them successfully. You prob- 
ably have a book of directions which was furnished with your sewing 
machine; study it carefully for it explains just how to use the 
different attachments. 

The hemmers in particular are used to very great advantage. 
Unthread the machine and practice using the narrow hemmer on a 
strip of material. 



155 

If you have a number of napkins to hem, try this method of 
quickening the work: Place the small hemmer on the machine, 
place the edge of the napkin in the hemmer and fold it in place with 
the hemmer without having any thread in the machine, then double 
this hem back on the right side of the napkin and overhand it as usual. 

In every household it is frequently necessary to replace worn out 
articles with new. By careful management the life of many of these 
worn articles may be prolonged and a considerable saving may be 
affected thereby. By reading the suggestions given below for the 
care of linen and worn sheets and discussing the matter with your 
mother, you may be able to assist her in prolonging the life of 
these articles. 

SUGGESTIONS FOR CARE OF TABLE LINEN. 

Remove spots and mend table linen before laundering. Place the 
freshly laundered linen at the bottom of the linen pile and thus avoid 
using the same pieces constantly. 

Table cloths usually wear along the place where they hang over 
the edge of the table. This worn space may be cut out and the table 
cloth rejoined with a felled or lapped seam. This seam lying on the 
edge of the table will be scarcely noticeable. A table cloth which is 
too badly worn to be repaired in this manner may be cut in pieces; 
the badly worn pieces should be saved to use for polishing cloths; 
the better pieces may be hemmed and used for lunch cloths, tray 
cloths, doilies, or picnic table cloths. 

SUGGESTIONS FOR CARE OF WORN SHEETS. 

A sheet which is worn in the center may have the worn piece 
torn out; the selvage edges may then be overhanded together; the 
torn edges should be hemmed to form the outside edges of the sheet. 
If this makes the sheet too narrow for a full sized bed, it may be used 
on a single bed, or a cot. 

Another way of using a worn sheet is to tear it in strips about 
36" wide and as long as the end of a comforter or quilt, and stitch 
the ends together to form a casing which may be slipped over the ends 
of the comforter to keep it from getting soiled (the ends of the com- 
forters become soiled before the other parts). 

Worn sheets make very satisfactory ironing board covers. 



156 



INTRODUCTION TO SECTION IV 

THIS section presents a number of modifications and develop- 
ments of the elementary processes and principles set forth in 

the preceding sections. Students who have satisfactorily com- 
pleted the work of the first half of this book, or its equivalent, should 
be sufficiently familiar with the fundamentals of sewing to be able 
to exercise considerable judgment, not only in the choice of projects 
to be undertaken, but also in modifying those projects and in incor- 
porating original ideas and personal taste in the designs. 

A very wide range of ideas is presented in the projects of this 
section in order to serve as a sort of review covering practically all 
of the different principles set forth thus far. It also gives an oppor- 
tunity for considerable choice in projects, thus making it possible to 
appeal to the individual interest of every member of the class. 

Some of the students may prefer to give most attention to the 
smaller projects which deal somewhat wath art needlework. This 
section offers an abundant opportunity for that kind of work. The 
color study and design work of the art class should correlate closely 
with the sewing work. 

Others may desire to take up the problems of garment making. 
The latter portion of this section deals entirely with that phase of the 
work introducing some of the elementary principles of the subject and 
employing them on garments which do not necessitate absolutely 
accurate use of patterns. 

In order, however, to lead the student to the proper understanding 
of the subject of patterns and their functions, references are made to 
Chapter IV, and, even though the students may be using commercial 
patterns for the projects which they are making, they should turn to 
these references and acquaint themselves somewhat with the subject 
of patterns and how they are drafted so as to use them more in- 
telligently. 



157 




SASH CURTAINS 

MATERIALS. 

Lawn (Chap. I, Par. 23) or 
Mull (Chap. I, Par. 26). 

Curtain material the length 
of window plus 4I2" for 
hems. 

Thread No. 70. 
Needle No. 8. 



INTRODUCTORY STATEMENT. 

Sash curtains are used to cover the lower sash of windows, 
usually in the bathroom, kitchen and pantry. They should be made 
long enough to clear the window casings, rather than to hang below 
them. An extra heading about 1" deep may be basted in the curtain 
when it is made, to provide for shrinkage when the curtain is 
laundered. 

As curtains should soften the light, rather than exclude it, sheer 
materials should be used in making them; white lawn, cheese cloth, 
voile and marquisette are the materials commonly used. The latter 
three are suitable for stenciling. The dotted mulls and embroidered 
muslins make very pretty curtains and require no further decoration. 

The curtain presented in this lesson shows the method ordinarily 
used in making sash curtains. The heading at the top is used to 
improve its appearance. 



References: 

Homes and Their Decoration. French, ^^^^itco^1b & Barrows, 
Home Decoration, Warner. Doublcday, Page & Co. 



158 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




EMBROIDERED MULL SASH CURTAIN. 
No. 1. Although the dotted mull makes a pretty sash curtain 
without further decoration, the row of dots above the hem may be 
embroidered in colors very effectively with the satin stitch, to form 
a border across the lower part of the curtain. 

HEMSTITCHED SASH CURTAIN. 
No. 2. This is one of a pair of curtains; it is finished with a 
hemstitched hem on one side and the lower end; the material used 
is curtain voile, ^^^^ CURTAINS 

No. 3. The edges of this dotted mull curtain are finished with 
narrow hems and colored rickrack. It makes a pretty bathroom 

curtani. STENCILED SASH CURTAIN. 

No. 4. The stenciled border placed above the hem of this curtain 
makes a very pretty effect. 



159 
WORKING DIRECTIONS FOR SASH CURTAIN 

PREPARING MATERIAL. 

As curtain material shrinks considerably when laundered, it is 
advisable to shrink it before making it into curtains. To do this, 
wet the material thoroughly, hang it straight on the line until par- 
tially dried, then iron it dry. Measure the window on which it is to 
be hung and allow the amount desired for the hems at the top and 
bottom. If you do not shrink the material, allow %" extra length for 
shrinkage, 4y2" were allowed for hems on the curtain for this lesson. 

Straighten one end of the material (Chap. II, Par. 102) and meas- 
ure down from this end on one selvage the length of the curtain. 
Draw a thread crosswise and cut on the line. If more than one cur- 
tain is to be made, cut out the others in the same manner. (If Ihey 
are to be hung in pairs or in the same room, be careful to make them 
exactly the same length). 

FINISHING THE LONG EDGES OF THE CURTAIN. 

As the sash curtain is to be made the full width of the material, 
the selvages may be used to finish the long edges, if desired. If there 
are to be two sash curtains at the window the inside edges of each 
curtain may be finished with narrow lace. To finish the edge with 
lace, cut off the selvage, fold, baste, and stitch a narrow hem in place 
on the sewing machine. Overhand the lace on this edge (Chap. II, 
Par. 112), or baste it flat on the edge and stitch it on the sewing ma- 
chine (Chap. II, Par. 164) (make the top tension a little loose to 
prevent puckering on the edge), or sew with running stitches. The 
outside edge may be finished in like manner, if desired. 

The long edges can also be finished with hemstitched hems. 
These may be made P/o" wide. To make them, trim off the selvage, 
and follow the directions for single or double hemstitching (Chap. 
II, Par. 115 or 116). 

The selvages are left on to finish the long edges of the curtain 
shown in the illustration. 

FINISHING THE LOWER END. 

The lower end of the sash curtain is usually finished with a hem 
about 2" wide. This hem may be stitched on the sewing machine, 
hemstitched, or finished with featherstitching (Chap. II, Par. 121, 122, 
123). If the end of the curtain is finished with rickrack, or lace, the 
same as the long edges, the hem should be made narrow^ to corres- 



160 

pond with the hems on the edges; the lace or other trimming should 
be sewed on in a continuous seam around the bottom and adjoining 
edges. The hem on the curtain shown in the illustration is made 2" 
wide; it is sewed in place with machine stitching. 

MAKING THE CASING AT THE TOP. 

The hem at the top of the curtain may be made ^vide enough to 
form a casing through which to run the curtain rod (about Mj" to %" 
wide). A casing is usually placed in the hem, howevfer; the remainder 
of the hem is to form a heading. To make the top hem with a casing, 
fold and baste a hem the width desired at the top of the curtain (2y2" 
is allowed on the curtain in this lesson). If the material has not been 
shrunk, measure up from the basted edge of the hem the desired 
width for a temporary casing (%")• Make a row of running stitches 
parallel with the edge of the hem. Measure up V2" above this and 
make a row of machine stitching for the top of a permanent casing 
parallel with the edge of the hem. Stitch the hem in place, or sew in 
place with hemming stitches (if the material has been shrunk, make 
the hem %" narrower and make only one casing). 




161 




LAUNDRY BAG 

MATERIALS. 
Denim (Chap. I, Par. 14). 

2/3 yard denim. 

1 ruler 12" long or piece of 

window stick. 
14" cotton tape. 
1 yard mercerized braid. 
White embroidery cotton. 
Embroidery needle. 
Thread to match denim. 



INTRODUCTORY STATEMENT. 

As the laundry work of the household is usually done but once 
a week, a place should be provided for the soiled clothes which collect 
during this time. In many houses a laundry chute is provided which 
carries the clothes to a receptacle in the laundry. If you have no 
laundry chute, laundry bags, which can be emptied at the end of the 
week, or on wash day, will be found very convenient. 

As the laundry bag will have to sustain considerable weight, it 
should be made of firm material and should be large enough to hold 
at least a week's laundry for one person; galatea, cretonne, denim or 
Indian Head are very satisfactory materials to use. 

While a bag with draw strings at the top might be used, it is 
somewhat inconvenient to open the mouth of such a bag each time 
you wish to place a soiled garment in it. 

The laundry bag shown in this lesson will be found very con- 
venient as the top is always open ready to receive the soiled clothes. 
The simple design used in ornamenting it is in keeping with the pur- 
pose of the bag. 



References: 



Care of the House, Clark. Whitcomb & Barrows. 
Laundry Work in Theory and Practice, Marsh. 



162 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




CRETONNE LAUNDRY BAG. 

No. 1. This bag is made with draw strings to close the top. 
is made of cretonne and is 18" wide and 27" long. 



It 



LAUNDRY BAG. 
No. 2. This laundry bag is shaped like an ordinary school bag but 
is somewhat larger. It is held open at the top with a large embroid- 
ery hoop over which the material is hemmed, and slightly gathered. 

DARNING BAG. 

No. 3. This bag is made of cretonne. One side has a small piece 
gathered on it to form a pocket for the darning cotton. The other 
side has a flap sewed on it; under this flap, oblong pieces of outing 
flannel are fastened for the darning needles. The draw strings are 
run through ivory rings. 

WHITE LAUNDRY BAG. 
No. 4. This laundry bag is made the same as No. 2 except that 
it is about twice as large. It is ornamented with a band of lilet 
crocheted insertion. 



163 

WORKING DIRECTIONS FOR LAUNDRY BAG 

PREPARING MATERIAL. 

Straighten one end of the material (Chap. II, Par. 102); measure 
down on the selvage 24" (the length of the laundry bag); draw a 
thread crosswise and cut on the line. This bag consists of two pieces, 
the front and the back; each is made from one-half of this strip of 
material. To divide the material, fold the selvage edges together 
evenly; crease on the fold formed and cut on the crease. As the front 
piece is shorter than the back piece, cut a strip 1%" wide off one 
end of it. 

SHAPING THE FRONT OF THE BAG. 

You will notice in the illustration that the front of the bag is 
curved out at the top. To do this, fold the front piece in the center, 
lengthwise; pin it to keep it from slipping. On the fold, measure 
down from one end 8" (call this the top); mark the point with crayon 
or a pin, measure in from the unfolded edge on the same end of thfe 
material, 2V2"; mark with a pin or crayon. With a piece of sharp- 
ened crayon connect the two points with an inward curving line; 
following this line, cut out the curve. ' 

FACING THE CURVED EDGE. 

The curved edge is faced with a bias strip I14" wide. This strip 
may be cut from the material which was cut out of the curved end 
of the front. Cut, and if necessary, join several bias strips to make a 
facing long enough to reach around the curve (Chap. II, Par. 143-144). 
To sew on the bias facing, let one end extend slightly above the curve; 
place one edge even with the edge of the curve on the right side of 
the material and baste it in place with even basting, holding it slightly 
full around the curve. Turn the facing to the wrong side, baste along 
the stitched edge, turn under the other raw edge, baste it in place and 
stitch, or hem by hand. (Stretch it around the curve if necessary to 
make it lie flat). 

JOINING THE BAG. 

Place the right side of the front and the back of the bag together 
with the straight edges even. Baste and stitch these edges together 
with a half-inch seam. Overcast the raw edges. 

TO FORM CASING. 

At the top of the bag a casing is to be formed to hold a stick on 
which the fullness of the bag is adjusted. 



164 

ATTACHING CASING TO THE STICK. 

Fold the top of the piece toward the front 1%", turn in the raw 
edge, baste and stitch in place. This casing is simply a wide hem. 
In order to hold the gathers in place, it is necessary to fasten the 
ends of the casing to the stick. To do this, cut notches Vi" deep on 
the top and bottom edges of the stick V2" from each end. "Wrap the 
stick several times with thread in these notches. Fasten the thread 
securely. Turn under the edge and sew one end of a piece of cotton 
tape 14" long to the thread in first notch; bring it over both ends of 
the stick to the other threads w'rapped in the notches and sew it 
securely. 

Insert the stick in the casing and overhand the ends of the casing 
catching the stitches through the tape on the ends of the stick. Adjust 
the fullness evenly on the stick, 

THE HANGER. 

Make a loop at each end of the mercerized tape and sew it to the 
top corner of the laundry bag to form a hanger, as shown in the 
illustration. 

THE DESIGN. 

The letters for the design may be drawn on a piece of paper and 
transferred to the laundry bag with carbon paper; trace over letters 
with sharpened crayon. A commercial pattern may be used if desired. 
If a commercial pattern is used, select one in which the design is 
stamped in yellow (the yellow design will show more clearly on dark 
material). Work the letters with the satin stitch (Chap. II, Par. 131). 




165 




PILLOW CASE 

MATERIALS. 
Muslin (Chap. I, Par. 27). 

1 yard muslin, width desired 
for length of pillow case, 
or 

1 yard pillow tubing. 
Thread No. 70. 
Needle No. 8. 
Embroidery cotton. 
Padding cotton. 
Embroidery needle. 



INTRODUCTORY STATEMENT. 

Pillow cases are counted among the household necessities. They 
not only preserve the life of the pillows by protecting them from 
wear, but also make it possible for the head to have a clean place on 
which to rest, for they can be changed as frequently as necessary. 

Pillow cases may be made from unbleached muslin, the muslin 
being formed into a bag-like case, with a seam at one end and side 
and a hem at the open end. Cheap, white muslin may be used in the 
same manner. The better grades of muslin are woven into pillow 
tubing of different widths. Linen is also used in making fine pillow 
cases; for pillow^ cases on which fine handwork is to be done, linen 
is especially desirable. 

While pillow cases may be made with a machine hem, the pillow 
case shown in this lesson is an example of one of the attractive ways 
in which they may be ornamented with handwork. 



References: 



The Furnishing of a Modest Home, Daniels. 
Some Principles of Every-day Art, L. F. Day. 



Atkinson, Meitzer & Grover. 
Scribner. 



166 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




EMBROIDERED PILLOW CASE. 

No, 1. The end of this pillow case is finished with a fancy scal- 
loped edge. The embroidered design is worked with the satin stitch. 

FANCY PILLOW CASE. 

No, 2, Coronation braid may be combined with crocheting 
stitches to form a band of insertion; this makes very attractive trim- 
ming for a pillow case. The monogram placed above the insertion 
is embroidered with the satin stitch, 

FANCY PILLOW CASE, 

No, 3. The end of this pillow case is finished with narrow cro- 
cheted edging. The monogram placed above it is worked the same 
as in No. 2. 

FANCY PILLOW CASE. 

No. 4. The crocheted insertion set above the hem of this pillow 
case was made on a hair pin; it is called hair pin lace. The lower 
edge of the hem is finished with a crocheted scallop. 



167 
WORKING DIRECTIONS FOR PILLOW CASE 

PREPARING MATERIAL. 
Straighten the ends of the material (Chap. II, Par. 102). 

JOINING SEAMS. 

If a straight piece of muslin is used for the pillow case it will 
be necessary to join it on one side as well as the bottom. The most 
desirable way to join the side of the pillow case is to lay the two 
selvage edges together evenly, baste, and stitch them with a %," seam, 
or turn the selvages back about i/4" and overhand a seam. The bot- 
tom of the pillow case should be finished with an overcast seam, or 
stitched on the sewing machine. Fold the material in the middle 
making the selvage edges exactly even (to form the side seam), stitch 
the side and the bottom making it a Vi" seam; overcast the raw edges 
at the bottom. These edges may be joined by hand if desired. To 
do this, turn the edges back i/4" on wrong side of the material and 
make an overhand seam (Chap. II, Par. 110). Overcast the edges in 
the same manner as for the stitched seam. 

If pillow tubing is used, make a ^A" seam at the bottom only. 
Stitch with the sewing machine, or overhand as suggested above. 
Overcast the raw edges. 

FINISHING THE OPEN END. 

The open end is finished with a hem from 2" to SV^" wide. This 
hem may vary in width to suit personal taste. It may be stitched on 
the sewing machine or hemmed by hand. The pillow case shown in 
the illustration is finished with a double hemstitched hem. To make 
this hem, measure up twice the width desired for the hem plus ^A" for 
the first turning; draw a thread. Draw three or four more threads 
toward the center of the pillow case, fold and baste the hem in place 
even with the edge of the drawn thread (Chap. II, Par. 103); double 
hemstitch in place (Chap. II, Par. 116). 

TO SET IN INSERTION (IF DESIRED). 

It may be desirable to trim the pillow case above the hem with a 
band of crocheted insertion or with tatting. To do this, after straight- 
ening the edge of the material on the end of the pillow case and 
sewing up the side seam, cut a strip ofT the end twice as wide as the 
width desired for the hem, plus V2" for under turnings. Oil the piece 
cut off turn under the raw edges Vk" toward the wrong side, fold 
these edges together evenly and baste with even basting. Make a 



168 

narrow hem on the open end of the pillow case, turning it to the 
wrong side. Join the insertion at the end if necessary and overhand 
one edge to the end of the pillow case (Chap. II, Par. 112). The part 
cut off is to be set onto the insertion. Be careful to keep the seam, 
of this piece even with the side seam of the pillow case ; overhand the 
lace to the basted edge of this strip. Remove bastings. 

THE INITIAL. 

The initial used on the pillow case should be rather large; that 
is, from 2" to 2y2" long. It is placed about V2" to 1" above the hem, 
in the center of the pillow case. You may use a commercial pattern, 
or, you may design your own letter. If a commercial pattern is used, 
place it rough side down, on the desired position and press it with a 
hot iron. Remove the pattern and work the initial. If you use your 
own design, transfer it with carbon paper. Use carbon paper a tritle 
larger than the initial; place it carbon side down on the pillow case, 
place the initial over it, pin in several places to keep it from slipping; 
with lead pencil trace around the initial. Remove the pattern and 
carbon paper and work the design. 

To work the initial, pad it, rounding it slightly in the center, and 
work it with the satin stitch (Chap. II, Par. 131). 




169 



SOFA PILLOW COVER 



\ .». ••• •?• 

, • • « * •,■■■ '::,» . 

1^ w W : 

' j V vy '<' 



MATERIALS. 

Linen (Chap. I, Par. 40), in 
natural color. 

32" art linen, 22" wide. 
32" linen fringe. 
Embroidery cotton. 
Embroidery needle. 
Thread No. 70. 
Needle No. 8. 



INTRODUCTORY STATEMENT. 

The sofa pillow is particularly suggestive of comfort and should 
be used for that purpose rather than for an ornamental one. How- 
ever, if its cover is made of pretty cretonne, or decorated with hand 
embroidery which harmonizes with the color scheme of the room, it 
will add a decided touch of beauty to it. Harsh, stiff materials should 
be avoided in making a pillow. Any kind of decoration which makes 
it uncomfortable for the head to rest upon, is in poor taste. 

A pillow with a bright cover is suitable for a room with plain 
curtains and rug which needs a bit of color to brighten it. If the 
curtains, the wall paper, and the rug have considerable design in 
them, the sofa pillows should be plain or they will give a spotty ap- 
pearance to the room. 

In selecting your material and designs for this pillow carefully 
consider the room in which it is to be used. 



References: 

Home Decoration, Ohio State University Extension Bulletin. 

Art and Economy in Home Decoration, Priestmirn. \\Tiitcomb & Barrows. 



170 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




CRASH PILLOW COVER. 

No. 1. This pillow cover is made about the same as the one 
described in the lesson; the embroidered design is different, but the 
same stitches are employed in making it. 

COLLEGE PILLOW. 

No. 2, This pillow is made of two shades of felt (the college 

colors). The designs and letters are cut out of felt and stitched to 

the top of the cover. The edges are laced together with strips of 

the felt 

COLLEGE PILLOW. 

No. 3. This pillow is also made of felt; the college colors are 
used, but are combined in a different manner than in No. 2. 

MONOGRAM PILLOW. 

No. 4. On this felt pillow cover the monogram of the college cut 
out of felt is used to decorate the top. The edges are laced together 
with cable cord. 



171 

WORKING DIRECTIONS FOR SOFA PILLOW COVER 

PREPARING MATERIAL. 

Straighten one end of the material (Chap. II, Par. 102), measure 
down on the selvage 32" (twice the width of the pillow). 

DRAWING DESIGN. 

The pillow cover should be embroidered before the seams are 
sewed together. The design shown in the illustration is intended 
only as a suggestion. Each girl should draw a suitable design for 
her own pillow (this design should be worked out in the drawing 
class). When drawing a design for a pillow cover keep in mind the 
purpose which the pillow is to serve. The use of beads, heax'y braid 
and elaborate embroidery are not in good taste for a sofa pillow. 
You should plan a simple design, but make it attractive by doing it 
very carefully. 

TRANSFERRING THE DESIGN. 

After you have designed your pattern transfer it to the proper 
position on the material. To do this, place a piece of carbon paper, 
carbon side down on the pillow cover, pin pattern over it, being sure 
to pin it sufTiciently to avoid slipping. Trace the pattern with a lead 
pencil. Remove the pattern and carbon paper. 

The sofa pillow in this lesson is worked with the satin stitch 
(Chap. II, Par. 131) and outline etching stitch (Chap. II, Par. 125). 
Consider the color scheme of the room in which this sofa pillow is to 
be used, then select colors that will be suitable for your embroidering. 
Work this design very carefully for this is the portion of the work 
from which your skill will be judged. 

JOINING THE SEAMS. 

As this pillow cover is to be made of one piece of material, fold 
the two edges together evenly with the wrong side out. On one end 
baste and stitch the edges together with a V^" seam (the other end is 
to be left open to put in the pillow). Also stitch the long side with 
a y^" seam, turn the pillow cover right side out. 

TO SEW ON THE FRINGE. 

As the fringe is not used entirely around the pillow, cut it into 
two equal parts. Finish the ends with narrow hems (Chap. II, Par, 
114) making each piece when hemmed just long enough to finish one 
end of the pillow as shown in the illustration. Lay the straight edge 
of one piece of frint^e flat on one end of the pillow allowing it to 



172 

overlap about Yz" (be sure it overlaps evenly across the end of the 
pillow). You should pin it on, baste it in position if necessary. Sew 
the fringe onto this edge with fine running stitches. Make a second 
row of running stitches parallel to the first on the extreme edge of 
the pillow cover. 

NOTE: The opposite end of the pillow cover is left open to 
receive the pillow. The fringe on this edge must therefore be sewed 
only to the top portion of the cover. 

Turn in the edge of the top side of the cover about 14". pin or 
baste the fringe on the upper side of this edge and with running 
stitches sew it in place as you did on the other end. 

PUTTING IN THE PILLOW. 

Any pillow which will fit the cover may be used. Slip the pillow 
into the opening and overhand the edges together neatly under the 
fringe. 




173 




TABLE COVER 

MATERIALS. 
Linen (Chap. I, Par. 40). 

1^2 yards Art linen 18" to 

22" wide. 
3 shades embroidery cotton. 
Black embroidery cotton. 
Embroidery needle. 
Linen colored thread for 

hemstitching. 



INTRODUCTORY STATEMENT. 

As the top of a library table is usually made of cabinet wood 
with a fine finish, it should be protected from mars and scratches. 
For this purpose some kind of table cover is quite necessary. The 
light silk Oriental rugs, which are very expensive, are sometimes 
used for this purpose; leather also makes an attractive cover, but 
the table covers made of strips of natural linen or crash are cheap, 
durable, easily cared for and may be made very attractive with dif- 
ferent kinds of handwork. 

The table cover shown in this lesson is an example of one made 
of linen finished at the ends with fringe, and decorated with a hand 
embroidered design. The shades of brown, used in working this 
table cover will make it harmonize very nicely with a room in which 
the prevailing tone is brown. 



References: 



Home Economics, Parloa. Manual Arts Press. 

Household Arts, Mrs. Candace Wheeler. Manual Arts Press. 



174 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




STENCILED TABLE COVER. 

No. 1. This table cover is made of a strip of linen crash; it is 
finished with a double hemstitched hem at each end; it is made long 
enough to hang over the end of the table about 6". The colors used 
in the stencil are soft, subdued shades of dark green and red; these 
colors will not be out of harmony with the color scheme of almost 
any room in which it might be used, 

GAME TABLE COVER. 

No. 2. This cover may be made of white linen, white poplin or 
Indian head. It is made to place on a game table for the purpose of 
protecting the sleeves of the players. Tlie tapes sewed on near the 
corners are used to tie the cover to the legs of the table. The band of 
filet crocheting in the center of the cover is buttonholed in place. 




175 

WORKING DIRECTIONS FOR TABLE COVER 

PREPARING MATERIAL. 

If the material is purchased 18", 20" or 22" wide (which are the 
usual widths) it will be used without removing the selvages. If art 
linen is not used, and the cover is cut from wider material (if there 
is no selvage) carefully straighten the edges of the material (Chap. II, 
Par. 102) making the piece the same width at each end. Finish both 
edges with a small flat hem which may be made either by hand 
(Chap. II, Par. 114), or stitched on the sewing machine (Chap. II, 
Par. 164). 

The length of the cover may be varied to suit the size of the table 
upon which it is to be used, about a yard and a half is a convenient 
length. It should be long enough to overhang a few inches at each 
end of the table, preferably so the entire design will be on the part 
that overhangs. 

MAKING THE FRINGE. 

Draw a thread and straighten the end (Chap. II, Par. 102). Meas- 
ure up from this straightened end as far as desired for the length of 
the fringe (about 4" or 5" will be satisfactory). Draw several threads 
(do not turn a hem) ,hemstitch across the end making the stitches 
catch in the main part of the cover (Chap. II, Par. 115), pull out the 
remainder of the threads below the line of hemstitches. This will 
leave all of the warp threads hanging free to form the fringe. 

TYING THE KNOTS. 

These threads are to be divided into equal groups and tied in 
knots as may be seen in the illustration at the front of the lesson. 
Divide the threads into groups of about eight threads each. Com- 
mencing at one edge, tie the first group in a knot with the fourth 
group letting the knot come down about 1". Tie the second group 
and the sixth group in similar manner, then the third and eight group, 
then the fifth and tenth, then the seventh and twelfth, then the ninth 
and fourteenth and so on across the end of the cover. 

These groups of threads should be tied in such a way as to form 
an even row of knots equally distant from the hemstitching. If 
desired, other designs may be worked out by dividing the threads in 
diflerent groups and tying in different ways. 

Make the fringe on the other end and tie the knots in exactly 
the same way. 



176 

THE DESIGN. 

The table cover is to be decorated with an embroidered design. 
This may be drawn free-hand on a piece of paper, afterwards trans- 
ferred to the cover. This method is recommended as it will give an 
opportunity of using in the sewing class some of the things worked 
out in the study of drawing. After working out the design, transfer 
it to the material by using a carbon paper. Place the carbon side of 
the paper next to the linen, pin the design over it in sufficient number 
of places to prevent slipping, then carefully trace the design with a 
pencil. Remove pattern, 

A commercial pattern may be used if preferred; place the rough 
side of the pattern next to the goods and press with a hot iron. Out- 
line all of the parts of the design with the outline etching stitch in 
black (Chap. II, Par. 125). The larger parts of the embroidery pattern 
are to be heavily padded. This padding should be carefully done so 
as to give a rounded appearance to the finished work. The embroid- 
ering is done with the satin stitch (Chap. II, Par. 131). The opposite 
end of the cover may be embroidered with similar design. 




177 




GUEST TOWEL 

MATERIALS. 

Huckaback (Chap. I, Par. 20 

or 47) or 
Damask (Chap. I, Par. 13 or 

45). 

% yard linen toweling. 
Embroidery cotton. 
Embroidery needle. 
Padding cotton. 
Thread No. 70. 
Needle No. 8. 



INTRODUCTORY STATEMENT. 

As the name indicates, the guest towel is designed especially 
for the use of guests. It is made smaller than the ordinary towel; 
when a towel is likely to be used only a few times it is very con- 
venient, because it is easily laundered. 

The guest towel should be made of the same kind of material 
as other fine towels, woven in a narrower width; huckaback or 
damask linen are the materials generally used. The ends are usually 
finished with double hemstitching, embroidered scallops, crochet or 
some other kind of handwork; the body of the towel is also frequent- 
ly embroidered or decorated in some way. 

The guest towel shown in the lesson is finished with double 
hemstitched hems and marked with an embroidered initial. Cross- 
stitch work is used very effectively in embroidering this kind of towel. 



References: 

Home Problems from a New Stiindpoint, C. L. Hunt. 
Arrangement of Home F'urnlshings, Cornell Bulletin, Ithiaca, N. Y. 



178 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




THE STORK GUEST TOWEL. 

No. 1. The ends of this towel are finished with embroidered 
scallops. The stork design is worked (on one end only) with French 
knots in different colors. 

FANCY GUEST TOWEL. 

No. 2. This towel is finished with double hemstitched hems at the 
ends. Tlie lower edge of one end is finished with a narrow crocheted 
edging; the lower edge of the other hem is finished with the same kind 
of edging combined with a square of filet lace in each corner. 

FANCY GUEST TOWEL. 

No. 3. The ends of this towel are finished with hemstitched hems 
on the edges of which narrow crocheted lace is sewed as shown in 
the illustration. pANCY GUEST TOWEL. 

No. 4. A band of tatting worked in a delicate color is placed 
above one hem of this towel. The other hem is finished with hem- 
stitching. The embroidered initial corresponds with the color of 
the tatting. 



179 

WORKING DIRECTIONS FOR GUEST TOWEL 

PREPARING MATERIAL. 

As you are using regular toweling which has selvage edges you 
will not need to give them any further attention. Straighten one 
end of the towel (Chap. II, Par. 102) from this end measure down 
on the selvage the length desired for the towel (% yard is used in 
this lesson). The length of the towel may be varied but it should 
always be kept in proportion to its width. 

PREPARING HEMS. 

The ends of this towel are to be finished with double hemstitched 
hems 1" wide. Measure up from one end 2^4" (double the Width of 
the hem, plus the first turning). Draw a thread. To prepare for the 
hemstitching draw three or four more threads toward the center of 
the towel. Fold, pin and baste the hem in place with even basting. 
Double hemstitch the hem (Chap. II, Par. 116). Finish the other 
end of the towel in the same manner. 

NOTE: A very attractive towel may be made by substituting a 
hem of colored linen for the hem of white linen. This may be set 
on with so-called machine hemstitching. Some machines are pro- 
vided with an attachment for hemstitching, which may be used for 
this purpose. The following method may be used satisfactorily on 
any machine: Lay about two thicknesses of blotting paper on the 
end of the towel, even with the edge. Lay a strip of colored linen 
(twice the width desired plus y>" for underturnings) over this with 
its straightened edge even with the end of the towel. 

Baste, and using a loose top tension on the sewing machine, 
stitch the two edges together (stitching through the material and the 
blotters) with a Vi" seam (Chap. II, Par. 164), remove bastings, trim 
the blotter very close to the seam, or bend it and tear it away along 
the line of stitching. Pull the other edge of the blotting paper away; 
this will leave the two materials sewed together with very loose 
stitches. 

Turn the raw edges back from the stitching onto the material, 
pulling the loose stitches between the two pieces of material straight. 
I'inish the raw edge turned back on the towel by turning it under 
and sewing it down with hemming stitches (Chap. II, Par. 114). Turn 
in the outside raw edge of the colored piece and fold it over to the 
hemstitched edge. Baste it in place and hem down or stitch on the 
edge with the sewing machine. 



180 

THE INITIAL. 

An Old English letter was used for the initial on the towel shown 
in this lesson. For your own towel you may select any style initial 
you desire (the initial should not be more than 11/2" long). It should 
be placed above the hem about 1" in the center of the towel. If you 
have designed your own initial, transfer it with carbon paper. To 
do this, cut a piece of carbon paper a trifle larger than the initial, 
place it carbon side down on the towel, pin the pattern for the initial 
over this and draw around it with a lead pencil. Remove the carbon 
paper and pattern and work the initial. 

If a commercial pattern is used transfer it to the towel by laying 
it rough side down in the position desired on the towel and pressing 
it with a hot iron. 

Pad this initial, before working it, rounding it a little in the cen- 
ter. Work it with the satin stitch (Chap. II, Par. 131). 




181 




BUNGALOW 
APRON 

MATERIALS. 

Gingham (Chap. I, Par. 19) 
or 

Percale (Chap. I, Par. 31), or 
Chambray (Chap. I, Par. 9). 

3 yards of gingham, 30" or 
36" wide. 

1 2/3 yards rickrack. 

Thread No. 70. 

Needle No. 8. 

Pattern for kimono night 
gown (drafted or commer- 
cial). 



INTRODUCTORY STATEMENT. 

The over-all or bungalow apron is very desirable to put on over 
the Sunday dress, or it may even be worn as a house dress. 

This apron may be made of calico, percale, gingham, or similar 
wash materials. If it is to be worn in the kitchen when doing work 
which would soil a light colored apron, dark colored material will 
be most serviceable; light colored aprons may be saved for ironing 
day, baking day and meal time when you wish to look particularly 
fresh and clean. 

In dark colors there are many good patterns which may be 
selected. The small blue and white checked, black and white striped 
materials, the plain blue chambrays or ginghams will make up at- 
tractively in the design given in this lesson. Rickrack used to finish 
the neck and sleeves of the apron will brighten it and add to its 
appearance. 



References: 

Textiles, Dooley. D. C. Heath & Co. 

A Dictionary of Calico Printing, O'Neill. Baird & Co., Philadelphia. 



182 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




BUNGALOW APRON. 

No. 1. This apron is made by combining a kimono waist with a 
plain gored slvirt, at the waist. A belt made long enough to tie in the 
back is stitched across the front of the waist line. The apron is 
trimmed with bias bands of a contrasting color. This apron may be 
made from a commercial pattern; patterns drafted from the upper 
part of kimono night gown and the plain three or five gored skirt 
may be used. 

BUNGALOW APRON. 

No. 2. This apron is very similar to the one described in the 
lesson, except that it is opened in front and the neck is finished with 
a plain rolled collar instead of rickrack. It may be made from a 
kimono night gown pattern. It is trimmed with bias tape of a con- 
trasting color and the front opening is laced together with cotton tape. 



183 
WORKING DIRECTIONS FOR BUNGALOW APRON 

PREPARING MATERIAL. 

Shrink the material before making. To do this, wet it thoroughly, 
allow it to partially dry then iron until thoroughly dry. 

CUTTING OUT THE APRON. 

Use a drafted pattern for a kimono night gown (Chap. IV); or 
if desired, a commercial pattern may be used. If a conunercial 
pattern is used, study carefully the guide chart and all directions 
w^hich accompany it. This apron is made without seams on the shoul- 
ders, the back and front being cut alike, hence one-half the pattern 
for the front of the kimono night gown will be sufficient to use in 
cutting it out. To prepare the material for cutting, fold it lengthwise 
in the center, making the selvages even; fold it crosswise in the cen- 
ter. Lay the straight edge, or center front of the pattern on the 
lengthwise fold of the goods with the top of the shoulder even with 
the crosswise fold. Pin it in several places to keep it from slipping. 
Cut out the apron. (Do not cut the cloth at the top of the shoulder, 
or on the center fold). Remove the pattern. 

JOINING SEAMS. 

The only seams in this apron are the under-arm seams. These 
may be made French seams. To make them, baste the edges of the 
material together on the right side and follow directions for making 
a French seam (Chap. II, Par. 137). 

FINISHING NECK, SLEEVES AND BACK. 

As this apron is opened in the back, you may cut the back piece 
in two on the center crease. Lay a hem Vo" wide on each edge; baste 
and stitch in place. (If necessary face it by sewing a strip 1" w^ide 
on the edge and, turning it back on the wrong side like a hem, finish 
it in the same manner). Try on the apron; pin it together at the back; 
cut out the neck the desired shape; see that the sleeves are the 
proper length. (If they are too short, lengthen them by setting on 
an extra piece of material; if they are too long, cut them off to the 
length desired.) While you have the apron on, it may be hung, that 
is, evened around the bottom. To hang the apron, decide on the dis- 
tance you desire to have it from the floor. Stand on a table and have 
someone turn up the bottom of the apron exactly even all the way 
around using a skirt gauge or a yard stick. Remove the apron, lay a 
narrow hem around the neck and around the bottoms of the sleeves; 



184 

baste in place but do not stitch. If rickrack is used to finish the edge, 
baste it on the wrong side, over the hem. Join it on the sleeves with 
a felled seam. Turn under the ends in a narrow hem at the neck and 
stitch it in place with two parallel rows of machine stitching. 

THE HEM. 

The hem at the bottom may be made the width desired; about 4" 
is a good width. Fold the hem on the line marked when the apron 
was hung. With a cardboard gauge (a strip of cardboard Vz wide 
and the length that you desire the width of the hem) used as a guide 
trim off the material of the hem making it exactly even; turn under 
the raw edge, pin and baste in place. Extra fullness at the top of 
the hem may be removed by laying small pleats in it. (Turn all 
the pleats in the same direction.) Stitch the hem in place. 

THE BELT. 

To make the belt, use the material cut from the sides; if nec- 
essary, to make the belt long enough, piece it in the center. It may 
be made long enough to allow the ends to lap in front, or it may 
button together in the back. Make it about 3" wide. It may be made 
double, or the edges may be finished with narrow hems and rickrack, 
the same as the neck and sleeves. It should be fastened to the apron 
with a vertical row of machine stitching. 

FASTENINGS. 

The apron is fastened in the back with buttons and buttonholes- 
(Chap. II, Par. 135-136). These may be placed about 4" apart and may- 
extend about 6" or 8" below the waist line. 

The belt should be fastened together with one button and button- 
hole if lapped in front; if lapped in the back, it should be fastened 
together with two. 




185 

COOKING APRON 



F 


( 

\ 


^^^^^^H| \ 


^^^^^^^^^^^^^^^^1 


^m 




^^^^^^^^^^^v 


^^^^1 


1 






M 


f 


«|Bmk*.'! 


^^^^^v 


H 




1^^^ 




,. if HI 



MATERIALS. 
Long Cloth (Chap. I, Par. 24). 
1 piece long cloth twice as long as Thread No. 70. 
the skirt length plus 1 yard for 4 pearl buttons, 
bib and 9 " for hem. 1 yard drafting paper for pattern. 

INTRODUCTORY STATEMENT. 

In order to protect their dresses while at work in the cooking 
Iaborator5% teachers usually require the girls to wear some sort of 
cooking apron. 

As white gives a pleasing impression of cleanliness, it is most 
commonly chosen for this purpose. White cambric, percale or any 
smooth finished, firm white material may be used. There are a 
number of different ways of making cooking aprons, but if a uniform 
pattern is chosen it gives a most attractive appearance to the class. 



References: 

Hints on Choosing Textiles, Cornell Bulletin, Ithaca, \. Y 
Saving Strength, Cornell Bulletin, Ithaca, N. Y. 



186 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




GORED COOKING APRON. 

No. 1. The skirt of this apron is gored. It may be made from 
a five gored commercial pattern or a drafted pattern. The band is 
made 2V2" wide, and the straps, which cross in the back and button 
at the band, are made 2" wide. This bib is finished with an inch hem; 
it is made TVo" wide at the top and QV^" wide at the bottom. 

COOKING APRON. 

No. 2. The skirt of this apron is made the same as in No. 1. The 
bib is made of one piece of material, a half pattern for which may be 
cut free-hand. To do this, place the straight edge of a piece of paper 
on the center front of the waist, curve the neck and shape the pattern 
on the sides and back as in the illustration. When the pattern is 
made, the front edge should be gored ofT about W at the top, other- 
wise the neck of the apron will fall forward in a pleat. When worn, 
the back of this apron may be pinned in place with a beauty pin to 
keep it from slipping up on the neck. 



187 
WORKING DIRECTIONS FOR COOKING APRON 

PREPARING MATERIAL. 
Shrink the material. 

PATTERN FOR BIR. 

Although a commercial pattern may be used for this bib, a free- 
hand pattern may be cut. To do this, take a strip of paper one yard 
long and the width from the center front of the waist to the shoulder. 
Hold it up to the person for whom intended with the straight edge 
on the center front of the body; pin it in front and curve out the neck 
the width desired. Pin it smoothly on the shoulder and, making it 
about 5V2" wide at the bottom, cut a curved line up to within about 
6" of the shoulder, as in the illustration. To make the back of the 
pattern, crease the edge of the paper so it will make a straight line 
down the center back (this will make a bias edge); cut ofT extra 
paper %" outside of crease to allow for seams. Curve the back of the 
pattern up toward the shoulder as in illustration. Trim ofT even with 
the waist line, both back and front. 

THE SKIRT. 

Make your apron the same length as your dress skirt allowing 
41/2" for hems and fitting. Tear off two strips the desired length. Use 
one strip for the front gore. It is necessary to make this apron nar- 
rower at the top than at the bottom, in order to remove some of the 
fullness. To do this, fold the strip lengthwise in the center, pinning it 
to hold it in place. At the top, measure in from the selvage to the 
center fold, 4". Mark with a pin. Fold over the two selvage edges 
forming a slanting fold from the pin to the bottom. Crease firmly 
with the thumb nail ; cut on the crease. 

In order to make the front gore fit smoothly on the belt it should 
be curved out slightly in front. To do this, measure down on the fold 
from the top %". Cut an inward curved line from this point to the 
top outside edges of the material. Remove pins. 

The back pieces of this skirt are made from the other strip of 
material. Tear the material in the center, lengthwise. Sew the torn 
edges of the back pieces to the front gore with French seams (Chap. 
II, Par. 137). (Be careful to make the pieces even at the top.) The 
back edges of the apron may be left with the selvage edges for the 
finish, or, a 1" hem may be made if preferred. 



188 

THE BIB. 

As you are to use a half pattern for the bib, it must be cut from 
a double thickness of material. Fold the remaining material on a 
warp thread, making a strip the width of the bib pattern ; lay the cen- 
ter front of the bib pattern on the fold of the goods; pin in place 
and cut out. 

Finish the outside edges and the neck of the bib with a narrow^ 
hem stitched on the sewing machine. Gather the bib across the bot- 
tom (Chap. II, Par. 141). Make a V2" hem on each edge at the back. 

THE BAND. 

Cut or tear two strips of material 2y2" wide and the length of the 
waist measure plus 2" for lapping and underturning. Set the gathers 
on the skirt of the apron on the edge of one piece of the band (Chap. 
II, Par. 142), allowing the band to extend beyond the gathers about 
IV2" at each end. Baste one edge of the other piece of the band on 
the opposite side of the gathers making the ends and edges even with 
the first piece. Stitch the ends together with a Vi" seam. Remove 
bastings. Turn the band right side out and baste. Turn in the raw 
edges, adjust the gathers and insert the bib between open edges of 
the band, being careful to have center of bib on center of band. Pin 
and baste in place. Put the apron on and insert the back pieces of 
the bib in the apron band even with the ends, pin in place and remove 
the apron and baste the bib in place at the back. Stitch entirely 
around the edges of the band. 

Place buttons and buttonholes on back of apron as shown in 
illustration (Chap. II, Par. 135-136). 

Put on the apron and have someone even it around the bottom. 
Remove apron, baste along the folded edge of the hem, even it to the 
desired width (use a strip of cardboard as a gauge), turn in the raw 
edge, stitch in place. 




189 




BASE BALL 
SUIT 

MATERIALS. 

Flannel (Chap. I, Par. 59). 
Muslin (Chap. 1, Par. 27). 

Amount of material called 
for in the pattern used. 

1 yard of 2" linen belting. 

About %" yard of Vz" elastic. 

Commercial pattern for base- 
ball suit. 

Silk thread to match ma- 
terial. 

Buttonhole twist. 



INTRODUCTORY STATEMENT. 

Baseball is a popular form of athletics in high school. In play- 
ing this game it is quite necessary that the boys have suits specially 
made for the purpose. Although these suits can be purchased ready 
made they may be made much more cheaply at home; they can also 
be made very acceptably by the girls in the sewing class. These suits 
are generally made of flannel trimmed with a contrasting color; col- 
ored outing flannel may also be used. 

While they vary somew^hat in a few details, such as the length 
of the sleeves or the shape of the collar, the general style of these 
suits is about the same. Of course the lettering on the suits will 
depend on local conditions; the name of the school, the club or team 
will usually suggest suitable initials or monogram. 

The suit shown in this lesson is made of gray flannel trimmed 
with a similar material of navy blue. 



References: 

Textiles and Clothing, Watson. American School of Home Economics. 
Clothes Moths, U. S. Bulletin, 659. 



190 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




No. 1. Athletic Shirt. 



No. 2. Track Trousers. 




No. 1. Girl's Swimming Suit. No. 2. Girl's Gym. Suit. 



191 
WORKING DIRECTIONS FOR BASE BALL SUIT 

CUTTING OUT SUIT. 

As the drafting of a pattern for this ball suit would be rather 
difficult, you should use a commercial pattern. As the pattern may 
vary somewhat in style from the suit shown in the illustration, the 
directions given here should be used merely as suggestions. Before 
cutting out the suit, carefully study the guide chart and directions 
accompanying the pattern. Pin the pattern to the goods to keep it 
from slipping. Lay all the parts of the pattern on the material before 
beginning to cut. Cut out the entire suit. (If there is no separate 
pattern for the lining the pattern for the trousers may be used.) 

JOINING SEAMS ON THE SHIRT. 

After basting the shoulders and under-arm seams of the back and 
front together on the right side, finish them with felled seams (Chap. 
II, Par. 138). Baste the seams of the sleeves together on the right 
side and finish with French seams (Chap. II, Par. 137). Set the sleeves, 
in the armhole with lapped seams (Chap. II, Par. 139). 

FINISHING THE PLACKET, NECK AND SLEEVES. 

As this shirt opens only part way down the center front, the 
opening should be finished with a placket; use the extension placket 
(Chap. II, Par. 162); make it lap from left to right. Trim the outside 
of the placket %\'ith a strip of flannel 2" wide and 2" longer than the 
placket; make it pointed at the bottom. Place three buttons and but- 
tonholes as in illustration (Chap. II, Pars. 135 and 136). 

The neck in this suit is finished wath a double band of llannel 
1" wide. 

The bottom of the sleeves are finished with a strip of llannel iy2"' 
wide stitched on the right side of the edge of the sleeve. 

JOINING SEAMS OF THE TROUSERS. 

Make the lining first. Join the parts of each leg, then sew the 
two legs together, leaving an opening for a placket about 4" long at 
the front end of the seam. Join the trousers in the same way. Place 
the lining inside the trousers, with all raw edges inside and baste the 
two together along the outside seems of the legs; stitch them together 
on these seams with two rows of parallel stitching, about Vi " apart. 
Baste and stitch a hip pocket in place. 



192 

PLACKET FOR TROUSERS. 

To finish the opening on the front of the trousers, sew an ex- 
tension 1 " wide on the right-hand side of the opening (Chap. II, Par. 
162); face the left side with a piece of lining iy2" wide at the top, 
tapered ofi" to %" at the bottom; this should extend from the top of 
the opening to the crotch of the trousers. To provide an extra flap 
for the buttonholes (which do not show on the outside) a piece of 
flannel the same size and shape as the facing is first lined, then 
stitched with the facing to the trousers. 

Three buttonholes are placed crosswise in the facing at regular 
intervals, the last one being placed 2" from the top. A button should 
be sewed on the under side of this facing at the top. Buttons to cor- 
respond with the buttonhole should be sewed on the extension piece 
and a buttonhole worked at the top to correspond with the button 
opposite. 

TO FINISH THE TOP AND BOTTOM. 

To pro\ide a place through which to run the leather belt, five 
straps about %" wide and 3" long should be sewed perpendicularly 
(at suitable distances) to the top edge of the trousers. Face the top of 
the trousers with some very strong material. The bottom of each 
leg is finished with a V-?" hem, containing an elastic band. 




193 




PLAIN 
PETTICOAT 

MATERIALS. 
Long Cloth (Chap. I, Par. 24). 

1 piece long cloth or rep- 
plette, twice the length of 
the skirt plus twice the 
width of the hem. 

1 piece bias tape the length 
of waist measure plus 1". 

Thread No. 70. 
Needle No. 8. 

Pattern for 3 piece skirt 
(commercial or drafted). 



INTRODUCTORY STATEMENT. 

Whether a petticoat is worn for warmth in winter or for appear- 
ance sake in summer, a good fitting petticoat is absolutely necessary 
to the well dressed woman. 

The style of the petticoat varies with the constantly changing 
styles in dress skirts. When the dress skirts are narrow, the petti- 
coats must necessarily be narrow; as the fashion changes to the full 
outside skirt, the petticoat must be made wider. 

The material used in the under skirt depends upon the purpose 
for which it is to be used. In the winter when a plain skirt is worn 
under a wool dress skirt, dark colors in materials like silk, moire, 
sateen, percaline or similar materials are very desirable, while crepe 
cloth, nainsook, long cloth and similar materials are used for sum- 
mer skirts. 

The skirt shown in this lesson is designed for every day wear 
and for this reason is made of repplette, which is easily laundered; 
it is made without a rulTle, a plain hem at the bottom edge forming 
the only trimming. 



References: 

Domestic Art in Woman's Kducation, Cooley. Scribner's Sons. 
Text Book on Domestic Art, Ingalls. 



194 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




SCALLOPED PETTICOAT. 

No. L This petticoat is made of heavy repplette cloth, the same 
as the one shown in the lesson, except that the bottom is finished with 
scallops instead of the plain hem. These scallops may be drawn 
directly on the skirt, in the following manner: Fold the skirt in 
halves lengthwise, then using a tape measure, divide the bottom edge 
in thirds marking each division with a pencil or pin. Cut a rounding 
curve on a piece of cardboard to lay ofT the scallops on the skirt. Cut 
out the scallops and face the skirt with a fitted facing about 5" wide. 

SKIRT WITH EMBROIDERED EDGE. 

No. 2. This is a plain three-piece skirt made as in No. 1, except 
that the bottom is finished with scallops embroidered by hand. These 
scallops may be transferred from a commercial pattern; or they may 
be laid out on a strip of Manilla paper, using a quarter to outline the 
lower edge and a dollar to outline the upper edge. (Any circular 
object corresponding in size to these coins may be used.) The scal- 
lops are worked with the loop stitch, with coarse embroidery cotton. 



195 
WORKING DIRECTIONS FOR PLAIN PETTICOAT 

PREPARING MATERIAL. 

Shrink the material. To do this, wet it, hang it straight on the 
line until partially dry, then iron until thoroughly dry (the repplette 
may be allowed to dry on the line without ironing). 

CUTTING OUT THE SKIRT. 

You may use a three-piece skirt dratted according to directions 
in Chap. IV; or, if desired, you may use a commercial pattern. If a 
commercial pattern is used, study the guide chart for the pattern and 
place it on the goods according to the directions given. If you use a 
drafted pattern, place the center front of the front gore on a length- 
wise fold of the material; pin in place. Place the straight edge of 
the pattern for the back gores on the goods parallel with the warp 
threads (plan your material as economically as possible). Remember 
you must make two back gores. Pin all of the parts of the pattern 
in place before cutting the material ; cut out the skirt, allowing seams 
if necessary. The notches which indicate the places where the seams 
are to be joined should be made very small, or simply marked with 
a pencil. 

JOINING THE SEAMS. 

Felled seams should be used to join the seams of this skirt. 
Keeping the gores even at the top, pin together the edges with cor- 
responding notches (put the pins in crosswise); baste the seams to- 
gether with even basting (Chap. II, Par. 103), making the stitches 
small at the top of the seam (it is well to hold the gored edge toward 
you when basting to avoid stretching it). When basting the back 
gore, leave from 10" to 12" at the top unbasted for the placket open- 
ing. After the skirt is basted, remove the pins and fit it carefully, 
marking the necessary alterations with pins. Be careful that the 
seams over the hips do not slant forward or backward at the top. See 
that the skirt hangs straight down the front. If it falls forward at 
the bottom, raise the skirt at the back waist line. Be careful not 
to make the skirt too tight across the hips. Sit down and see that 
it fits easily around the hips when seated. Remove the skirt and 
baste again along the line of pins. Remove the pins and try it on 
again to see that your alterations are correct. Make the felled seam 
(Chap. II, Par. 138). Finish the placket opening with a bound 
placket (Chap. II, Par. 161). 



196 



FINISHING THE TOP. 

A skirt may be finished with a belt, but as there are no gathers 
in it and the belt is likely to increase the size of the waist line, this 
skirt is finished with bias tape. To sew on the bias tape, lay one 
edge even with the top of the skirt, baste the edges together in a 
narrow seam turned toward the wrong side; fold the tape over to the 
WTong side and baste along the turned edge, turn in the other raw 
edge and the ends of the tape at the back, baste and stitch entirely 
around the edges of the tape. The tape may also be stitched in the 
center, to keep it from stretching. 

Sew hooks and eyes on the placket about 2" apart, placing one at 
the top of the placket to fasten the skirt around the waist (Chap. II, 
Par. 133). 

THE HEM. 

Try on the skirt again and have someone turn up the hem, using 
a yard stick, or a skirt gauge to make it even. Remove the skirt, 
baste the hem near the bottom edge, remove the pins and using a 
gauge (strip of cardboard the desired length) as a guide, make the 
hem even; turn under the raw edge, baste the hem in place, laying in 
small pleats to take up the extra fullness. Stitch the hem on the 
sewing machine. Remove bastings. 




197 

REVIEW QUESTIONS AND PROBLEMS. 

1. For what rooms al home are sash curtains particularly suitable? 

2. What kind ol" material would you select for sash curtains? 
What is the price per yard at your local stores? 

3. What is the function of a laundry bag? About what size 
would you make it? 

4. What kind of material is generally used for pillow cases? 

5. Describe a simple way of making a pillow case, giving only 
the points absolutely necessary. 

6. Describe a more elaborate way of making a pillow case; 
name four or five stitches and processes which may be used to 
ornament it. 

7. Design and explain how you would make a fancy table cover. 

8. What ornamental stitches are often used on guest towels? 

9. Work out an original design for an embroidered guest towel. 

10. What is a gored apron? 

11. What kind of material is suitable for a boy's baseball suit? 
About how much material is required? 

12. What method may be used to make a name or monogram on 
a baseball shirt? 

13. Find the cost of a ready made baseball suit as given in any 
catalogue of athletic goods and estimate how much you may save 
by making it. 

14. What kind of material is used for petticoats? 

15., What points must be considered in making a petticoat? 

16. Name and explain how to make at least four stitches which 
you have used most. 

17. Do you know of any home work upon which you might use 
some of the processes learned at school? Explain. 



198 

SUGGESTIONS FOR HOME APPLICATION. 

1. Examine the window shades at home; notice whether any 
of them have become worn at the bottom, or badly cracked from 
switching against the window casing. The part which has been rolled 
most of the time will be less worn, so by turning the shade opposite 
end up the worn part will be hidden when the shade is rolled. Re- 
move the shade from the roller; trim off the end if necessary and 
turn a hem wide enough to allow the curtain stick to slip through it 
easily; cut the hem off at the bottom and tack this end to tLe roller. 

2. The life of muslin window curtains, which have become worn 
at the lower ends, may be prolonged by cutting off the worn parts 
and hemming the good portions for sash curtains. These curtains 
may then be used to replace others that are worn out. See if any of 
your curtains at home can be used in this way. If they can, ask 
permission to do the work. 

3. Stenciling makes a very pretty decoration for bedroom cur- 
tains, as the design may be worked in colors which will harmonize 
with the wall paper or general color scheme of the room. Make a 
pair of curtains for your bedroom, or any room at home; decorate 
them with a stencil design. 

4. Find how the soiled clothes in your home are cared for 
before they go to the laundry. If your room is not already provided 
with a laundry bag, make one and see that it gets systematic use. 

5. Make a set of pillow cases for your room, or embroider an 
appropriate initial or monogram on a pair which you already have, 

6. A very serviceable pillow cover may be made, finished with 
a ruffle of the same material. Make such a pillow, using the hemmer 
on the sewing machine in hemming the ruffle. 

7. Work out an original design and make a guest towel that 
would be suitable for a birthday or holiday gift. 

8. Sort over the garments left from the wardrobe of previous 
seasons and see whether there are any wash dresses which have been 
discarded because they are out of style. The expense of buying new 
material may be saved by making over some of these dresses into 
aprons. 

NOTE: You should use judgment in making over garments, as 
it does not pay to spend a lot of time making over a garment which 
is badly worn or in which the material is not strong. 

9. Our grandmothers would utilize all the worn and discarded 



199 

garments in making carpet rags which were woven into rugs and 
carpets. While this is not done so commonly now-a-days, you may 
make a very useful and attractive rug for the bathroom or kitchen 
by simply braiding carpet rags and sewing the braids together to 
form circular, oblong or oval rugs. To do this, cut cotton material 
into strips about 2" wide, or wool material into strips about 1" wide; 
sew the ends of the strips together and wind them into balls. Braid 
the strips together in a three-strand braid (the braid should be about 
1 " wide). Use coarse thread and sew the edges of the braid together 
shaping the rug as you sew. 




200 



INTRODUCTION TO SECTION V 

THE projects of this section deal almost entirely with garment 
making beginning with some of the elementary ones and leading 
up to the more advanced garments which are more fully 
dealt with in the next section. The paragraph references dealing with 
the elementary stitches, and with the early processes of sewing are 
not given throughout this section; such references are given which 
present processes that have occurred only rarely in the preceding 
sections. 

Most of the projects call for the use of patterns. Satisfactory 
patterns may be drafted by following the instructions given in Chap- 
ter IV, however, it may be found advisable to purchase commercial 
patterns for most of the garments. This does not mean that the 
subject of pattern drafting may be ignored; it should be taken up 
and carefully studied so that every student may get a clear conception 
of how patterns are made, what measurements are necessary and 
just how they are applied. A careful consideration of this subject is 
very essential in order that the girls may be prepared to alter and 
modify various commercial patterns from time to time. Styles are 
continually changing, but such changes deal for the most part with 
minor details; the fundamental principles of pattern drafting and 
garment making remain unchanged. 

It is not desirable to teach girls a set routine of mechanical 
operations whereby they may produce a certain pattern, indeed the 
garment may be out of style before they can learn to make it. 

If they learn that the pattern is merely a means to an end — that 
judgment and good taste are always the all important matters — that 
they are striving to acquire ability which wall enable them to take 
the means at hand and produce satisfactory results — there need be 
little uneasiness as to whether patterns are bought or made. 



201 




COMBING 
JACKET 

MATERIALS. 

Turkish Toweling (Chap. I, 
Par. 35). 

1 turkish towel, 22" wide, 48" 
long. 

2^2 yards ribbon (color de- 
sired). 

Rope embroidery floss to 
match ribbon. 



INTRODUCTORY STATEMENT. 

A combing jacket, as its name indicates, is a small, loose garment 
which can be slipped on and ofT easily during the preparation of the 
toilet; many girls and women prefer it to the kimono. It should 
be loose and comfortable, as it is w^orn only in the privacy of the 
girl's room. 

If an elaborate garment is desired, dainty shades of crepe de 
Chine or wash silk may be used, and many of the decorative stitches 
may be employed, but the art of making exquisite materials from 
cotton has reached a stage where we no longer have to use expensive 
silk to get beautiful effects. Sheer cotton material may be used and 
trimmed with lace, or, if a more serviceable jacket is desired, heavier 
cotton materials may be used. 

The combing jacket in this lesson is made from a piece of towel- 
ing, it is therefore inexpensive, but when carefully and neatly com- 
pleted will be found very dainty and attractive. 



References: 



Textiles and Dress, Ohio State Universitj' Ex. Bulletin. 
Pattern Miakins; by Paper Folding, Heath. London. 



202 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




SILK COMBING JACKET. 

No. 1. This combing jacket is made of a strip of bordered silk 
cut like the one shown in the lesson except that the neck is rounded 
out instead of having the flaps turned back. The silk is joined in a 
seam at the back; the edges are finished with embroidered scallops. 
It is fastened together under the arms with bows of ribbon and in 
the front with two snaps over which bows of ribbon are sewed. 

WOOL CHALLIE COMBING JACKET. 

No. 2. This combing jacket may be cut from the pattern of a 
kimono night gown. It should be flared under the arms a trifle more 
than for the gown. The back is pointed at the bottom like the front. 
The neck is finished with a rolling collar. The bottoms of the sleeves 
and the body of the combing jacket are finished with a hem, the top 
of which is outlined on the outside with featherstitching. There are 
six eyelets worked in the edges of the front hem through which nar- 
row ribbon is laced to hold the garment closed in front. 



203 
WORKING DIRECTIONS FOR COMBING JACKET 

PREPARING MATERIAL. 

The size of the towel used in making this combing jacket will 
depend on the size of the girl for whom the jacket is made. As these 
towels may be purchased in different sizes, it will not be necessary to 
cut one narrower for the jacket. However, if desired, and the towel 
is long enough, the smoothly woven border usually found on the end 
of these towels may be cut off. In the combing jacket shown in the 
illustration the border on the end of the towel used for the front of 
the garment was cut off. When finished the jacket should be long 
enough to reach below the waist line in the back and front. 

CUTTING OUT THE COMBING JACKET. 

No pattern is required for this combing jacket. It is made by 
cutting the towel lengthwise in the center, a trifle more than half its 
length; for the neck opening, it is cut crosswise a short distance from 
the center toward each side near the shoulder line. 

To make a jacket for a girl or woman of medium size, fold the 
towel in the center, lengthwise; measure up on this fold from the 
end of the towel which is to be used for the front 22"; mark with 
a pin, cut on the crease up to the pin for the front opening. To 
make the opening for the neck, measure up from the same end 17", 
mark with a pin and cut a line 2" long perpendicular to the crease 
through both thicknesses of the towel. 

FINISHING THE EDGES. 

On all the cut edges of the towel, fold and baste a hem the same 
width as the selvages on the outside edges of the towel (do not make 
a first turning in the hem as the edges of the hem will not ravel after 
it is blanket stitched and the extra turnings will make it too heavy). 
Using rope embroidery cotton, which is very coarse and heavy, blan- 
ket stitch entirely around the edges of the combing jacket, making 
the stitches about 1/4" deep and 1/4" apart (Chap. II, Par. 128). Fine 
stitches and fine thread would not be effective on this rough, heavy 
material. Turn back the points at the neck far enough to make the 
jacket set nicely and sew them in place with three or four stitches 
taken up and down through both the material and the flaps. 



204 



JOINING UNDER ARMS. 

This combing jacket is made without any seams and is held to- 
gether under the arms with ribbon tied in bows. To put on the 
ribbon, measure up from the bottom of the combing jacket on one 
edge 9"; mark with a pin; turn in the end of a piece of ribbon about 
14" long and 1" wide and hem it to the wrong side of the combing 
jacket (allow it to overlap the edge about V2"). In the same manner 
sew another piece of ribbon the same length on the opposite edge of 
the jacket. On the other side of the jacket sew on two ribbons in 
the same manner. 

On the front opening find the place where you desire the jacket 
to be fastened; sew^ two ribbons each Y2 yard long on the opposite 
edges of this opening in the same manner. 



205 




NIGHT GOWN 

MATERIALS. 

Nainsook (Chap. I, Par. 28) 
or 

Long Cloth (Chap. I, Par. 24) 
or 

Muslin (Chap. I, Par. 27). 

1 piece of Nainsook twice the 
length of the measurement 
from shoulder to floor, 
plus 5" for hems. 



INTRODUCTORY STATEMENT. 

-Not many years ago^ before the manufacture of cotton had 
reached its present high degree of perfection, girls were very glad 
to have plain, substantial night gowns made of unbleached muslin 
in summer and outing flannel in winter. Now, however, most girls 
take almost as much pride in their night dresses as they do in the 
selection of their outer garments. Each girl's wardrobe usually con- 
tains two kinds of night gowns; some which will stand service and 
laundering and some lighter ones for special occasions. The kind for 
service should be made of firm wash material, such as cambric, long; 
cloth, or repplette which is easily cared for because it requires no 
ironing. 

The project given in this lesson is an excellent one to precede 
dressmaking work in which straight seams are absolutely necessary 
to give a fine appearance to the garment. The night gown has long 
seams and gives good practice in machine stitching. The design 
shown above is made along simple lines with kimono sleeves. If 
set-in sleeves are preferred, they may be used. 



References: 



Sewing Club Bulletin. Kx. Division. Kansas State Agricultural College. 
Suggestions for Sewing Schools, Patterson. 



206 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




OUTING FLANNEL NIGHT GOWN. 

No. 1. As this night gown is made for warmth, it has long 
sleeves and a collar which fits closely around the neck. The yoke, 
into which the body of the night gown is gathered, is made double. 

CHEMISE. 

No. 2. This may be made from a kimono night gown pattern by 
curving it in at the armholes and allowing extra fullness in the front. 
It is finished at the top with a curved band of all-over embroidery. 

HANDMADE NIGHT GOWN. 

No. 3. This illustration shows an elaborate gown with a lace 
yoke and sleeves. Tlie ribbon is run through long eyelets just below 
the armholes. 

HAND EMBROIDERED NIGHT GOWN. 

No. 4. This night gown is trimmed with set-in lace insertion and 
embroidered scallops around the neck and sleeves. The ribbon is 
run through long eyelets. Such a garment presents an opportunity 
for the employment of a great deal of beautiful handwork. 



207 
WORKING DIRECTIONS FOR NIGHT GOWN 

PREPARING MATERIAL. 

Shrink the material by wetting it, partially drying it and ironing 
it until dry. 

CUTTING OUT THE NIGHT GOWN. 

Draft a pattern for a kimono night gown (Chap. IV), or, if de- 
sired, you may use a commercial pattern. If a commercial pattern 
is used, study carefully the guide chart and all directions which 
accompany it. This night gown is made without seams on the shoul- 
ders, the back and front being cut alike, hence one-half the pattern 
for the front of the night gown will be sufficient to use in cutting 
it out. To prepare the material for cutting, fold it lengthwise in the 
center, making the selvages even; then fold it crosswise in the center. 
Lay the straight edge, or center front of the pattern on the lengthwise 
fold of the goods with the top of the shoulder even with the crosswise 
fold. Pin it in several places to keep it from slipping. Cut out the 
night gown (do not cut the cloth at the top of the shoulder or on the 
center fold) ; remove the pattern. 

JOINING SEAMS. 

The only seams necessary in this garment are the ones under the 
arms. French seams may be used. To make them, baste the edges 
of the material together on the right side and follow the directions in 
Chap. II, Par. 137. To keep the seams from puckering under the arms, 
make tiny crosswise cuts on the edge of the first seam around the 
curves, 

FINISHING THE NECK AND SLEEVES. 

The neck and sleeves of this night gown are to be finished with 
lace beading. You may finish the raw edges with narrow hems. 
Stitch on the sewing machine or hem by hand. Overhand the lace on 
the edge of the hems. Join the lace as in Chap. II, Par. 148. 

If desired, the neck may be finished with bias tape. To sew on 
this tape, lay the right side of the tape on the wrong side of the 
material, with one edge even with the edge of the neck. Baste with 
short stitches along the line of the crease, turn it to the right side, 
baste it down and stitch on both edges. Overhand the lace on the 
edge and join it as suggested above. 

If embroidered beading is preferred, sew it on the neck and 



208 

sleeves with a lapped seam (Chap. II, Par. 139). Make tiny crosswise 
cuts in the turned edges where the seam curves (if this is not done 
the seam is likely to pucker around the curve). 

FINISHING THE BOTTOM. 

Have someone even the gown around the bottom (the night gown 
should just clear the floor). Make the hem about 2" wide. Even it, 
using a gauge as a guide (a strip of cardboard the width desired for 
the hem), baste the bottom of the hem even as turned. Turn in the 
raw edges, pin and baste in place removing the extra fullness at the 
top of the hem by laying small pleats in it. Sew the hem in place with 
machine, or with hemming stitches. 




209 




KIMONO 

MATERIALS. 

Outing Flannel (Chap. I, Par. 
30), or 

Silk (Chap. I, Par. 70). 

About 3 yards of 30 " or 36" 
material. 

About 4 yards of narrower 
material. 



INTRODUCTORY STATEMENT. 

While the kimono is worn by the women of Japan on all occa- 
sions, the women of America use it as a negligee gown, as its long, 
loose flowing lines make it very appropriate for that purpose. It 
should not be worn as a house dress for it gives an untidy appearance 
instead of the look of comfort w^hich it has when worn properly. 

The kimono, like the combing jacket, may be varied in many 
ways to suit the taste of the wearer. Silk, crepe de Chine, cotton crepe, 
hand embroidery, beautiful lace and ribbon, all play an important 
part in beautifying kimonos, but just as in other styles of dress, judg- 
ment must be used in selecting the proper material so in selecting 
material for a kimono, careful thought should be given to the use for 
which it is designed. Cotton crepe in the plain colors, also in figured 
materials, is one of the most common materials used for a serviceable 
kimono. Where a thinner garment is desired, figured lawn and 
dimities are used. 

The kimono in this lesson is designed for a school girl and the 
material is suggested with that idea in view. 



References: 



Art ;is Applied to Dress, Iliggins. 
Color, Dress and Needlework, Crane. 



210 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 

















■' He'" 



^■^iF'''^' J>''* ' *?: \^ ^''. "^ ' 



OUTING FLANNEL KIMONO. 

No. 1. This kimono is made with a shawl collar and turned back 
cuffs finished with ribbon binding. It may be made the same as the 
one shown in the lesson. 

CREPE KIMONO 

No. 2. This kimono is made with a yoke on which the body of 
the kimono is shirred. The upper part of the kimono may be made 
from the kimono night gown pattern; the other part is simply made 
of three straight pieces of material sewed together and gathered at 
the top. More decorative effects can easily be worked into this 
design if desired. 



211 
WORKING DIRECTIONS FOR KIMONO 

CUTTING OUT THE KIMONO. 

As this kimono is made like a kimono night gown with the ex- 
ception of the neck, you may draft a kimono night gown pattern or if 
desired, you may use a commercial pattern. If a commercial pattern 
is used, study carefully the guide chart and all directions which 
accompany it. 

This kimono is made without seams on the shoulders, the 
back and front being cut alike, hence one-half of the pattern for the 
front of the kimono will be sufficient to use in cutting it out. To 
prepare the material for cutting, fold it lengthwise in the center, 
making the selvages even. Fold it crosswise in the center, lay the 
straight edge or center front of the pattern on the lengthwise fold of 
the goods with the top of the shoulder even with the crosswise fold. 
Pin it in several places to keep it from slipping. 

If the material is not wide enough at the bottom, extra pieces 
should be pinned to the edge of the goods to make it the desired 
width. If the material is very narrow, as is sometimes the case with 
silk, it may be necessary to use two widths of cloth for the front and 
two for the back. This will make a seam down the center back. 

JOINING SEAMS. 

If it is necessary to piece the material under the arms, sew the 
extra pieces to the proper edges of the material with a plain seam if 
the edges are selvage, or if the edges are raw, use a French seam. If 
necessary to place a seam in the center back, use a plain seam to join 
selvage edges or a French seam to join raw edges. 

FINISHING THE FRONT AND NECK. 

The edges of the opening in this kimono were faced with length- 
wise strips of the material cut IV2" wide, turned to the wrong side. 
Ribbon may be used very satisfactorily by turning the raw edge Yi" 
toward the right side and basting the ribbon over it even with the 
folded edge. It should be stitched on both edges. This facing should 
extend about IW above the point where the collar begins. 

The collar for the kimono is made of a contrasting color and 
should be made double; it may be cut freehand or from a commercial 
pattern. To sew it on, place the center back of the collar and the 
kimono together, with the under side of the collar on the right side of 



212 

the kimono and its edges even with the neck of the kimono at the 
back. Baste them together with V4" seam. Stitch, remove bastings. 
Turn the seam inside of the two thicknesses of the collar. Turn in 
the edge at the top of the collar enough to allow it to cover the 
stitching; baste and hem in place. Be careful to finish the end of the 
collar neatly, also the ends of the facing. 

CUFFS. 

The cuffs are made of the same material of which the collar is 
made. To make them, cut two strips of the material 5" wide, the 
width of the bottom of the sleeve plus 1" for seams. Join the ends 
of each piece with a plain seam; sew a piece on the bottom of each 
sleeve in the same way that you sewed on the collar, making it double. 
Turn the folded edge back over the sleeve of the kimono to form a 
sort of cuff. 

THE HEM. 

Put on the kimono, have someone even it around the bottom the 
distance desired from the floor, and pin the hem in place. Baste it 
around the bottom edge; trim it off even the desired width, turn in 
the raw edge, baste the top in position removing extra fullness by 
laying small pleats in the top of the hem; stitch in position, unless 
the material is silk; the hem on a silk kimono should be hemmed by 
hand. Overhand the open ends of the hems together. 

This kimono, when worn, may be fastened with a fancy pin or 
with two or three snaps placed below the end of the collar (Chap. H, 
Par. 133). 




213 




PRINCESS SLIP 

MATERIALS. 

Nainsook (Chap. I, Par. 28), 

or 
Cambric (Chap. I, Par. 6), or 
Long Cloth (Chap. I, Par. 24). 

Nainsook, the amount called 

for in the pattern. 
Thread No. 90. 
Bias Tape. 
Snaps or buttons. 
Lace beading, the amount 

called for in pattern. 
Ribbon or lingerie tape 

(about 2y2 yards). 



INTRODUCTORY STATEMENT. 

Every well groomed woman is very particular to see that outside 
garments fit without wTinkles and with a glove-like appearance across 
the hips and back. There is only one way to accomplish this result, 
and that is to have the under garments without fullness or wrinkles. 
If there is a tendency towards a large waist in proportion to the size 
of the hips, all bands around the waist must be fitted to avoid increas- 
ing its size. The fitted princess slip has come into use to overcome 
this difficulty for it is so made that the under skirt and corset cover 
make a continuous line from the shoulder to the bottom of the skirt. 

The trimming for the upper part of the waist may be made as 
elaborate as desired because the slip takes the place of the regular 
corset cover. The bottom of the slip may be trimmed with ruffles, 
with lace, with rows of insertion sewed together to make a llounce, 
with embroidery, with beading and insertion, or may even be left 
plain. Young girls who are wearing gathered or pleated skirts often 
prefer a slip made similar to the slip-over night dress, without 
sleeves, but this garment is not very satisfactory where smooth, fitting 
skirts are worn on the outside. 



References: 

The Dressmaker. Buttcrick Publishing Co., N. Y. 

The Sewing Book, Anne Jessup. Butterick Publishing Co., N. Y. 



214 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




PRINCESS SLIP. 

No. 1. This princess slip may be made from the same kind of 
pattern as the one in the lesson. The upper part is finished with a 
band of insertion set in with lace; the neck and armholes are finished 
with lace beading. The band of insertion in the bottom of the skirt 
is stitched or overhanded to the lace insertion, which is in turn 
stitched to the material in the princess slip. The material is cut 
out under the trimming. 

FANCY PRINCESS SLIP. 

No. 2. This shows the back view of a princess slip made very 
much like the one in the lesson. Tlie hand crocheted yoke makes a 
handsome trimming for the top of the garment. The yoke is hemmed 
onto the garment and the material is cut away to about Y^," ; this edge 
is turned under and hemmed making a very narrow hem. 



215 
WORKING DIRECTIONS FOR PRINCESS SLIP 

PREPARING MATERIAL. 

Shrink the material by wetting it, partially drying it, then ironing 
it until thoroughly dry. 

CUTTING OUT THE PRINCESS SLIP. , 

As the pattern for a princess slip is difficult to draft you are to 
use a commercial pattern. Carefully study the guide chart and 
directions which accompany the pattern. If a ruffle is to be set on 
the bottom edge of the slip, turn up the pattern at the bottom the 
width of the ruffle you wish to use (always allow at least 2" extra 
length for making). Cut the strips for the ruffle the desired width, 
making it one and one-fourth to one and a half times as long as 
the skirt is wide at the bottom, 

JOINING SEAMS. 

Either French or felled seams (Chap. II, Par. 137-138) may be 
used to join the seams on this garment. With this in mind, baste the 
seams together, put on the garment and have it fitted, marking the 
lines of the fitting with pins. The garment may be hung, or evened, 
at the bottom at this time. Remove the princess slip, baste along the 
lines of the fitting and finish the seams, leaving an opening at the 
top of the center front or back seam long enough to allow the garment 
to slip over the head easily. 

PLACKET. 

Finish the placket opening with an extension placket (Chap. II, 
Par. 162). To fasten it together, sew about 6 snaps (Chap. II, Par. 
133) on the placket or work the same number of buttonholes and sew 
on small pearl buttons to correspond with them. 

ARMHOLES. 

Finish the armholes with bias strips of the material cut about 1" 
wide (Chap. II, Par. 143). (In joining the strips, follow directions in 
Chap. II, Par. 144), (a fitted facing made a little wider at the bottom 
than at the top may be used). Overhand lace on the edge of the arm- 
hole after it is faced (Chap. II, Par. 112), joining the lace carefully as 
directed in Chap. II, Par. 148. 



216 

FINISHING THE NECK. 

Make a narrow hem around the curve in the neck and overhand 
lace beading on the edge. Finish the ends of the lace with narrow 
hems and run ribbon through them. 

PUTTING ON THE RUFFLE. 

Sew the strips of the ruffle together, using plain seams to join 
the selvage edges and felled seams to join the raw edges. Make a 
narrow hem on one edge, using the hemmer on the sewing machine; 
if desired you may baste the hem and stitch it. Divide the bottom 
of the skirt in four equal parts (this skirt should be cut off even as 
marked when it was hung). Gather the ruffle and baste it onto the 
edge as directed in Chap. II, Par. 141 and 142. The raw edges may 
be finished with a bias tape or French seam. If a French seam is 
used, there should be two rows of gathering threads in the rufTle so 
the second row of stitching can be made through the second row of 
gathers. If bias tape is used, lay it on the right side of the gathers 
with the edges even, baste in place along the crease; turn it over 
making it lie flat over the raw edges of the skirt and rutfle; baste 
it in place and stitch on both edges. Remove bastings. 




217 



RUFFLED PETTICOAT 



MATERIALS. 
Long Cloth (Chap. I, Par. 24). 

1 piece of long cloth twice 
the length of the skirt, 
plus the width of the hem. 

About 21/i yards embroidery 
(amount will depend on 
fullness of ruffle and 
width of skirt. 

Lace (about 2 yards) for bot- 
tom of skirt. 

Thread No. 80. 

Pattern for 3 or 5 gored skirt 
(commercial o r drafted 
pattern). 



INTRODUCTORY STATEMENT. 

While plain petticoats are necessary for everyday wear, the 
summer dress, party dress, or silk gown calls for a trimmed under- 
skirt. The body of this skirt may be made of white percale, nainsook, 
long cloth or cambric. 

The style of the ruffled petticoat, the same as the plain, varies 
according to the style of the outside skirt. Wide petticoats with full 
ruffles come into use with the fuller dress skirts, while narrow petti- 
coats with scant ruffles are desirable with the narrower dress skirts. 

The ruffle on the skirt may be made of rows of lace and insertion 
sewed together by hand, or lapped slightly and stitched on the ma- 
chine and finished with a lace edge; or it may be made with lawn 
or fine cotton material trimmed with a lace edge, or one or more rows 
of lace insertion, depending on the desired width of the ruftle. 

The petticoat presented in this lesson is trimmed with embroidery 
flouncing, care should be taken to select embroidery with a firm edge, 
otherwise it will not wear well. 




References: 



Textiles. Woolman and McGowan. Macniillaii Co. 
Goodwin's Course in Sewing. Beattys Co., N. Y. 



218 



SUGGESTIONS FOR OPTIONAL MODIFICATION. 




■f'Tt^l'" 


. } 


liii 


II 



No. 1. Fancy Petticoat 



No. 2. Child's Petticoat. 



FANCY PETTICOAT. 

No. 1. This petticoat is finished with an under ruffle edged with 
lace. The top ruffle of the skirt is made by joining rows of lace in- 
sertion with strips of lawn. The easiest way to do this is to stitch the 
lace in rows equally distant from each other on a strip of lawn or 
nainsook the width desired for the ruffle. The lawn is then cut out 
under the insertion and the edges are turned back and stitched in 
a narrow hem. 

While a band or fitted top is preferable in a petticoat, a draw 
string is sometimes used to make a skirt adjustable to different sized 
waists. This skirt is provided with such a draw string. 



CHILD'S PETTICOAT. 

No. 2. The upper part of this skirt may be made by using a 
waist pattern which fits the child. The armholes and neck are faced 
with bias strips of the same material. The bias ruffle is set on with 
a bias band of the material. The ruffle is hemmed with the sewing 
machine. A child's skirt should have tucks so placed that they may 
be let out to provide the length which- is needed as the child grows. 



219 

WORKING DIRECTIONS FOR RUFFLED PETTICOAT 
PREPARING MATERIAL. 
Shrink the material. 

CUTTING OUT THE SKIRT. 

You may use a three or five gored skirt pattern drafted according 
to directions in Chap. IV, or, if desired, you may use a commercial 
pattern. If a commercial pattern is used, study carefully the guide 
chart and directions which accompany it. If you use a drafted pat- 
tern, place the center front of the front gore on a lengthwise fold of 
the material. The other pieces may be cut two at once, as a rule. 
You should be careful to have the straight edges of the pattern parallel 
with the warp threads of the goods. Any notches which indicate 
the places where the seams are to be joined should be cut very small, 
or marked with a pencil. 

JOINING SEAMS. 

This skirt should be joined with felled seams. Pin and baste the 
gores together, matching them according to the notches; keep them 
even at the top, leave an opening 10" or 12" from the top of the back 
seam for the placket opening. Try on the skirt, make the necessary 
alterations, mark them with pins placed close together lengthwise. 
NOTE : Be careful that the seams over the hips do not slant forward 
or backward at the top; see that the skirt hangs straight down the 
front, if it falls forward at the bottom, raise the skirt at the back 
w^aist line, be careful not to make the skirt too tight around the hips; 
sit down and see that it fits easily around the hips when seated. 
Remove the skirt and rebaste, finish the seams. Finish the placket 
opening with a bound placket (Chap. II, Par. 161) or an extension 
placket (Chap. II, Par. 162). 

FINISHING THE TOP. 

As the material in this skirt is not heavy, a band is used to finish 
it at the top. For the band, tear ofT, or cut a strip of material 21/2" 
wide and 2" longer than the waist measure. Turn in one raw edge; 
put on the skirt; place the center of the band on the center front of 
the skirt, the folded edge overlapping the top edge of the skirt. Pin 
the band in position, turning in the ends even with the back opening. 
(The skirt should be made even around the bottom while you have 
it on). Remove the skirt and baste on the edge of the band, fold the 



220 

other edge of the band over to the wrong side exactly opposite the 
edge on the right side, pin, baste and stitch all round the edges 
of the band. 

Sew one hook and eye on the ends of the belt and three snaps on 
the placket (Chap. II, Par. 133). 

FINISHING THE BOTTOM OF THE SKIRT. 

Make a narrow hem in the bottom of the skirt and overhand 
narrow lace on the edge, joining the ends of the lace as in Chap. II, 
Par. 148 or, if desired, a narrow embroidery may be sewed on the 
edge with a lapped seam (Chap. II, Par. 139). Join ends of em- 
broidery with a felled seam. 

THE RUFFLE. 

Join embroidery with a felled seam (stitched or hemmed). Di- 
vide the ruffle in four parts, marking each part with a pin; gather 
each part. Divide the skirt in four parts, place it over the end of an 
ironing board (if possible); pin the quarters of the ruffle to the 
corresponding quarters of the skirt; adjust the gathers, baste the ruffle 
on the skirt, making the bottom of the scallops of the embroidery 
even with the bottom of the skirt. Baste bias tape smoothly over the 
gathered edge of the ruffle making one edge even with the gathering 
threads. Join the bias tape (Chap. II, Par. 144) and stitch it on 
both edges. 




221 



CAMBRIC CORSET COVER 




MATERIALS. 
Cambric (Chap. I, Par. 6), or 
Long Cloth (Chap. I, Par. 24) 

or 
Nainsook (Chap. I, Par. 28). 

About 1 yard of cambric. 
About 2^2 yards of embroid- 
ery beading. 
Thread No. 70. 
1 hook and eye, or 3 buttons. 
2^2 yards lingerie tape. 



INTRODUCTORY STATEMENT. 

The corset cover, as its name implies, is primarily worn to pro- 
tect the corset; it also serves to improve the appearance of the outside 
waist. There is practically no end to the styles in corset covers; in 
fact, there are almost as many as there are women to wear them, but 
in the end they all serve the purpose named above whether they are 
made of beautiful lace flouncing, embroidery flouncing, lace trimmed 
nainsook, lawn, hand embroidered linen or delicate shades of crepe 
de Chine. 

The corset cover shown in this lesson is designed for service and 
for that reason is made of substantial cotton material consisting 
merely of long cloth trimmed with a simple edge of embroidery 
through which tape or ribbon is run to draw up the fullness at the 
top. It is cut after a pattern which makes but few gathers necessary 
in the band at the waist line; this is very desirable, as it gives plenty 
of fullness at the top without the bulging, clumsy appearance at the 
band. It is desirable to attach a peplum to keep the corset cover 
from slipping up and leaving a gap at the waist line; if preferred it 
maj be attached to a pair of drawers thus forming a combination suit. 



References: 



Household Arts, Bulletin Missouri Stale Board of Agriculture. 

The Modern Household, Talbot and Breckcnridge. Manual .Arts Press. 



222 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 



CAMBRIC CORSET COVER. 

No. 1. This corset cover is made like the one shown in tlie 
illustration, except that the fullness at the top is gathered in and lin- 
ished with bias tape. The neck and armholes are trimmed with 
tatting. It is a very plain serviceable garment. 

HANDMADE CORSET COVER. 

No. 2. This corset cover is decorated in rather a novel way. Half 
inch square openings are cut and the raw edges turned back to form 
the design shown. Net is sewed on under the squares. 

HAND EMBROIDERED CORSET COVER. 

No. 3. This corset cover is embroidered with the satin stitch and 
eyelets. The lace sleeves are made by sewing together several rows of 
insertion; lace beading finishes the top of the corset cover. 

FANCY CORSET COVER. 

No. 4. The hand crocheted yoke which finishes the top of this 
corset cover makes it very elTective when worn under a thin waist. 
There is almost no limit to the application of fine handwork which 
may be used in this garment. 



223 

WORKING DIRECTIONS FOR CAMBRIC CORSET COVER 

PREPARING MATERIAL. 
Shrink the material. 

CUTTING OUT THE CORSET COVER. 

A commercial pattern may be used for this corset cover, or you 
may draft your own pattern according to directions in Chapter IV. 
If a commercial pattern is used, study carefully the guide chart and 
directions accompanying it. 

As the two pieces forming the front should be cut out together, 
fold the material lengthwise to form a double strip as wide as the 
front of the pattern. Lay the edge of the center front of the pattern 
even wdth the unfolded edges of the goods, pin it in place and cut out 
the fronts. To cut out the back for which you have a half pattern, 
fold the remaining material lengthwise to form a double strip as wide 
as the back pattern. Lay the center back of the pattern on the fold 
of the material, pin it in place and cut it out. Cut out the peplum, 
laying the center back of the peplum on the warp thread of the goods. 
Tear out, or cut off a strip 3" \Ndde, the length of the waist measure, 
plus 2" for under turnings and lapping. 

JOINING SEAMS. 

This corset cover may be joined with felled or French seams 
(Chap. II, Par. 137-138). With this in mind, baste together the under- 
arm and shoulder seams of the corset cover. Baste the peplum to- 
gether in the back, if necessary. Try on the corset cover; make any 
alterations necessary. If it is too low in the neck or too full in the 
lower curve of the armhole take up the shoulder seam; if it is too 
loose under the arms take up the under-arm seams. Pin a tape or a 
strip of cloth around the waist over the bottom of the corset cover, 
adjust the fullness and mark the waist line with pins or trim off the 
extra material ^^^th the shears. 

Rebaste on the line of fitting; finish the seams. Remove bastings. 

PUTTING ON THE BAND. 

Gather the corset cover across the lower edge of the back about 
2V'2 " inside of the under-arm seams (Chap. II, Par. 141), draw up the 
gathers to make the back 9" or 10" wide; about 2^/3" from the under- 
arm seam gather across the lower edge of the front pieces and draw 
up the gathering thread until the bottom of the corset cover is the 
same size as the waist measure, plus 1" extra for lapping at the front. 



224 

TO SEW ON THE BAND. 

Lay it on the under side of the corset cover with the center even 
with the center back, and the edge even with the gathered edge of the 
corset cover. Pin and baste in place (be careful to turn in the ends of 
the band V-i" making them exactly even with the front edges of the 
corset cover). Adjust the gathers, pin and baste the band to the corset 
cover. Stitch along the line of basting; remove bastings and gather- 
ing threads. Turn in the raw edge on the other side of the band 
and fold it over to cover the stitching; pin and baste in place. Remove 
pins. Cut open the lower edge of the band to receive the peplum. 
Turn in the raw edges and crease them. 

THE PEPLUM. 

Finish the lower and front edges of the peplum w^th a narrow 
hem. With the center backs of the peplum and the band together 
place the wTong side of the peplum on the under side of the band, 
with the edges even; pin and baste in place; remove the pins and 
stitch. Turning in the edge of this seam fold over the edge of the 
upper part of the band enough to cover the stitching; pin, baste and 
stitch in place. (Both sides of the band should be perfectly smooth.) 

FINISHING NECK AND ARMHOLES. 

The embroidery beading should be sewed around the neck and 
armholes with a lapped seam (Chap. II, Par. 139). To keep the seams 
smooth, make tiny crosswise cuts in the underturned edges around 
the curves. Finish the ends of the embroidery on the neck with 
narrow hems; join the ends in the armholes with felled seams ((>hap. 
II, Par. 138). Run ribbon through the beading. 

FASTENINGS. 

Fasten the corset cover together with snaps on the front hems 
and a hook and eye on the band (Chap. II, Par. 133) or with buttons 
and buttonholes on the hems and also the band (Chap. II, Par. 135-136). 



225 




DRAWERS 

MATERIALS. 

Cambric (Chap. I, Par. 6), 

or 
Long Cloth (Chap. I, Par. 

24), or 
Nainsook (Chap. I, Par. 28). 

iy2 to 2 yards of material. 
Embroidery (l^A times 

width of the two legs). 
Thread 70-90, depending on 

fineness of material used. 



INTRODUCTORY STATEMENT. 

There are some things in a girl's wardrobe that are counted as 
luxuries and there are others which are absolute necessities. This 
garment is one of the necessities. Whether they are joined to a 
corset cover in a combination suit, or made in one piece as a sort of 
princess slip, makes no particular difference except in the amount of 
gathers at the waist line, but they are usually made to conform to the 
prevailing style in their shape at the bottom. 

In the days of full skirts the wide, circular ones are very popular, 
while in the days of tight skirts they are narrowed down and even 
fastened into a band of some sort at the knees to make them fit closely. 
The material used, as in other garments, will depend on whether they 
are to be worn daily or occasionally. For service, long cloth or 
cambric is generally used; the softer nainsook or linen may be used 
for the finer ones. 

The garment in this lesson is made along standard lines. Some 
of the details will have to be decided upon by the wearer, as each 
girl will probably have ideas of her own which can be easily intro- 
duced. Embroidery trimming may be used (to match the embroidery 
on the under skirt) for the bottom of the legs, or they may be finished 
with a ruffle made of the goods, of lawn, or of barred muslin tucked 
and trimmed A\ith lace and insertion; lace is often sewed on the bot- 
tom for trimming. 



References : 

The Complete Dressmaker, C. E. Laughlin. 
Hints on Dress, E. C. Gale. 



226 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




LACE TRLMAIED DRAWERS. 
No. L These drawers are made open. Notice the fitted facing 
which finishes the inside of the legs. The lace is sewed on the edge 
of a narrow machine made hem. 

CHILD'S DRAWERS. 
No. 2. These drawers are made bloomer style; the fullness at 
the bottom of the leg is gathered into a band of embroidery beading, 
which is sewed on with bias tape. The openings on the sides are 
finished with bound plackets. 

READY-MADE DRAWERS. 

No. 3. These drawers which are ready-made, have gathers across 
the back to make them fit at the waist line. The openings on the inside 
of the legs are finished with bias tape. The embroidery trimming on 
the bottom of the drawers is set on with embroidery insertion. 

DRAWERS. 

No. 4. These drawers are made of fine material (nainsook) ; they 
are finished on the bottom with dainty lace set on the bottom of the 
legs with insertion provided with eyelets through which narrow 
ribbon is run. 



227 
WORKING DIRECTIONS FOR DRAWERS 

PREPARING iMATERIAL. 
Shrink the material. 

CUTTING OUT THE DRAWERS. 

You may use a commercial pattern for these drawers, or draft a 
pattern according to the directions in Chap. IV. If a commercial 
pattern is used, study carefully the guide chart and directions accom- 
panying it. If you use a drafted pattern for plain drawers, lay the 
side edge of the pattern parallel with the warp threads of the material 
which may be doubled crosswise so that both legs may be cut at the 
same time. Pin the pattern in place and cut out the drawers. 

JOINING SEAMS. 

Each leg should be joined with a felled seam (Chap. II, Par. 138). 
If the drawers are to be made closed, join the two legs with a felled 
seam extending from the top of the back to within 10 " of the top of 
the front. Finish the opening at the front with an extension placket 
(Chap. II, Par. 162). NOTE: Children's drawers are usually gath- 
ered onto a band in front and to another band in the back, with an 
opening 4" to 6" long on one or two sides. These openings are fin- 
ished with a bound placket, or bias tape. 

If the drawers are made open, the edges on each leg should be 
finished with a fitted facing about 1" wide. This facing is usually 
joined opposite the seam in the leg, the raw edges of the seam being 
turned inside. If the drawers are to be opened in the back, they 
should be lapped in front the width of the facing. If the drawers 
are to be opened in front, they should be lapped the width of the 
facing in the back. After they are lapped, stitch them together about 
6" from the top in the back, or about 4" in the front. 

FINISHING THE TOP. 

The top of the drawers may be inserted in the lower edge of the 
band of the corset cover and made to form a combination suit; or, 
they may be finished with a straight band. The drawers in the illus- 
tration are finished with a bias facing. Cut a bias strip 1 " wide and 
long enough to reach around the waist, sew it on the top edge of the 
drawers; turn the seam to the wrong side, fold it over to the wrong 
side; baste along the stitched edge, turn in the opposite raw edge 
and the ends, baste and stitch in place, or hem by hand. 



228 

FINISHING THE BOTTOM. 

The bottoms of the drawers in this lesson are finished with an 
embroidery ruffle. You will notice that this rufTle is gathered and the 
embroidery is left open at the sides of the legs. To put on the ruffle, 
cut the embroidery in two equal pieces. On each end, miter the 
embroidery the same as you would lace, except that it should be 
joined with a felled seam (Chap. II, Par. 147). 

TO SEW ON THE LACE. 

Divide each drawer leg in halves and mark it with a pin; divide 
each piece of embroidery in halves and mark with a pin. Gather 
each half and adjust it to the half of each leg. As the embroidery is 
to be sewed on with a felled seam, place the wrong side of the em- 
broidery on the wrong side of the drawer leg, allowing the edge of 
the drawer leg to extend about ^A" beyond the edge of the gathered 
embroidery. Baste and stitch the embroidery in place, making the 
mitered ends meet on the side of the drawer leg. (Be sure to stitch 
through the gathering threads.) Finish sewing on the embroidery 
with a felled seam (Chap. II, Par. 138). 

FASTENINGS. 

If the drawers are closed, place three buttons and buttonholes 
on the placket and one on the end of the facing. If the drawers are 
made open (open in the back) sew one hook and eye on the end of 
the bias facing at the back, or use a button and buttonhole if you 
prefer. If they are made open and are to be fastened in front, sew 
one hook and eye on the ends of the facing and about three snaps 
down the edge of the opening. 




229 



PAJAMAS 




MATERIALS. 

Outing Flannel (Chap. I, Par. 30). 

Nainsook (barred) (Chap. I, Par. 28). 



Amount of material called for 
in pattern. 



4 buttons. 

11/2 yards cotton tape. 



INTRODUCTORY STATEMENT. 

Pajamas are usually thought of as distinctly a sleeping garment 
for men and boys, but they are growing in popularity particularly 
for children and even women; they are especially suitable for winter. 
They fit closer to the body and for that reason are much warmer than 
the night gown. When made of outing flannel in the dainty shades 
of pink, blue and lavender, with white trimmings they are really very 
attractive; when made with feet they are exceedingly warm and 
comfortable. 

Pajamas are used a great deal by people who sleep out of doors; 
when so used they are often made with an attached hood which keeps 
the cold air from the neck. 

This garment is usually made in two pieces, with the coat sep- 
arate, but some are made with the trousers attached. The garment 
in this lesson is made in two pieces and although outing flannel is 
designated as the material, if a summer garment is desired, seco silk 
or cotton poplin in dainty colors may be used instead. A very at- 
tractive garment can be made of delicate color of crepe de Chine, but 
this is more expensive. 



References : 

Needlework and Cutting Out, Rosevear. 
Book of Needlework, S. O. Beeton. 



Macmillan Co. 



230 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




CHILD'S PAJAMAS. 

No. L These pajamas should be made from a commercial pat- 
tern. They are made just like the pajamas in the second illustration, 
except that the feet have been omitted. They are suitable for a child 
from 2 years to 8 or 10 years of age. The extra fullness across the 
back is gathered into a band which is buttoned to the upper part of 
the garment, as shown in the second illustration. 

CHILD'S PAJAMAS. 

No. 2. These pajamas are made of outing flannel for winter 
wear. The feet which are made as a part of the legs, keep the gar- 
ment from slipping up. A pattern should be used in making this 
garment. To make the feet, sew a seam across the bottom of the 
heel, then inserl the gusset which is to form the sole of the foot. 
Finish the raw edges of the seam with overcasting. 



231 
WORKING DIRECTIONS FOR PAJAMAS 

PREPARING MATERIAL. 

Shrink the material. You are to use a commercial pattern in 
making this garment. Study carefully the guide chart and directions 
accompanying the pattern and cut out the garment. 

MAKING THE COAT. 

As you will notice in the illustration in this lesson, the pajamas 
consist of a loose fitting coat and a pair of drawers. Join the shoulder 
and under-arm seams of the coat with felled seams (Chap. II, Par. 
138), finished on the right side. Join the seams of the sleeves in the 
same manner and set them into the armholes of the jacket with 
lapped seams (Chap. II, Par. 139). Finish both edges of the front 
opening with a facing 3" wide. Using a flat, mercerized braid make 
four "frogs" on the left side and place them at equal intervals along 
the edge of the garment. (A "frog" is a design made of braid 
to ornament the buttonhole. It is sometimes made with a loop ex- 
tending over the edge of the garment to serve as a substitute for a 
buttonhole.) To make each frog, place one end of the braid about iy2" 
from the edge of the opening (on the left side); bring it around to 
the front edge in a loop large enough to enclose a buttonhole. Make 
additional loops of braid around the end to resemble a clover leaf. 
Turn in the ends and fasten the braid in place with small running 
stitches. Sew the buttons (on the right side) to correspond with the 
buttonholes. 

Finish the neck with a fitted facing about V2" wide. Finish the 
bottom of the sleeves and the bottom of the jacket with a V2" hem. 
Place the pocket on the left-hand side of the jacket. NOTE: if 
these pajamas are made for a girl or woman place the frogs and 
buttonholes on the right-hand side and the buttons on the left-hand 
side. 

MAKING THE DRAWERS. 

It will probably be necessary to piece the drawers at the crotch. 
This will depend on the width of the material. If this is necessary, 
pin extra material to the selvages in the place desired, when cutting 
out the garment, and stitch the pieces on with the same kind of seams 
used on the other parts of the garment. Join each leg with felled 
seams finished on the right side. Join the two legs in the same 
manner leaving an opening in the front about 11" long for the placket. 
Finish this opening with an extension placket (Chap. II, Par. 162). 



232 

If you desire to fasten this opening together with buttons and button- 
holes, make the facing on the extension placket twice as wide as you 
otherwise would, and fold half of it back to the edge to form a flap 
in which to work the buttonholes. If buttonholes are used, sew on 
buttons to correspond with them on the extension piece of the 
placket. Snaps may be used satisfactorily for this purpose, excepting 
for the top fastening, which should be a hook and eye. If snaps are 
used make the extension placket without the extra flap. 

If the top of the drawers are fitted, finish with a 1" facing. If 
it is not fitted, it may be finished with an inch hem, through which 
a cotton tape is run. Where the tape is used, make buttonholes in 
the outside of the hem, even with the inside edge of the extension 
piece of the placket and bring one end of the tape out through this 
(if the tape is brought out through the end of the hem, it will make 
the pajamas close awkwardly in the front). Finish the bottom of 
the drawers with ¥2" hems. 




233 




BOY'S SHIRT 

MATERIALS. 

Madras (Chap. I, Par. 25), or 
Percale (Chap. I, Par. 31). 

Amount of material called 
for in pattern. 

Commercial pattern. 

9 pearl buttons. 

Thread No. 70. 



INTRODUCTORY STATEMENT. 

While many styles of garments come and go, particularly in 
women's wear, yet the shirt remains as a standard piece of apparel 
for men and boys. The style of collar and cuffs may vary from time 
to time, but the general principles of the garment are so nearly un- 
changed that a standard pattern can be adapted easily to the kind of 
shirt desired. 

Percale is the most common material for shirts, it stands wear, 
holds its color well, and launders beautifully. 

The shirt shown in this lesson is designed for a boy, it is there- 
fore set on a band at the waist line; the collar is attached to the shirt. 
Either of these features can be easily altered if desired. 

In undertaking to make a shirt a commercial pattern should 
be used. 



References: 

Handicraft Bulletin, Ex. Division Kansas State Agricultural College. 
Household Sewing, Bertha Banner. 



234 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 










MAN'S SHIRT. 

No. 1. This shirt is made very similar to the one shown in this 
lesson; its particular features are the soft cufTs and collar. Instead 
of being finished with a band at the bottom, it is allowed to extend 
below the waist line several inches and is curved off toward the under- 
arm seam. It should be made from a commercial pattern. The guide 
chart and directions which accompany such a pattern should be 
studied carefully. 

MAN'S SHIRT. 

No. 2. This shirt is made like No. 1, except that it is finished 
with a collar band at the top instead of a collar. The open cuffs show 
the placket opening which is necessary in all shirts of this character. 
This opening is finished with a bound placket. Usually a strip with 
a pointed end is sewed along the upper edge of this placket for trim- 
ming. A commercial pattern should be used in making this shirt. 



235 
WORKING DIRECTIONS FOR BOY'S SHIRT 

PREPARING MATERIAL. 
Shrink the material. 

CUTTING OUT THE SHIRT. 

You are to use a commercial pattern to make this shirt. In select- 
ing the pattern choose one in which the lower part of the waist is 
fitted into a band. The tape sometimes used to gather the fullness 
in at the waist line does not make as neat a finish as the band. 
Carefully study the guide chart and the directions accompanying 
your pattern. Cut out the shirt accordingly. 

JOINING THE SEAMS. 

Finish the seams under the arms and on the sleeves with felled 
or lapped seams (Chap. II, Par. 138-139). The shoulders may be 
finished in the same way, but they will look very neat finished with a 
lengthwise strip 1" wide. To put on the strip, baste the seams as 
usual and place a lengthwise strip %" wide over the seam on the 
right side, letting the center of the strip lie on the basted seam. Turn 
in the raw edges, baste in place. Trim off the extra material under the 
strip; baste a strip the same width exactly opposite this on the wrong 
side. Stitch the strip on the right side along the edges, sewing in the 
strip on the wrong side at the same time. 

To finish the front edge of the shirt, hem, or face the right-hand 
edge with a hem, or facing, %" wide. Finish the left-hand edge by 
turning the raw edges toward the right side and stitching a l^A" strip 
over it; place the stitching about I/4" from each edge. Place four 
buttonholes cut lengthwise of the material in the center of this strip. 
Place buttons on the right side to correspond with the buttonholes. 

THE COLLAR. 

The standing collar on a boy's shirt is made of two parts; one 
part forms a band which fits around the neck and is made lengthwise 
of the material; the other part which turns back over the bands to- 
w^ard the right side is frequently cut crosswise of the goods, especially 
if the material is striped. The collar should be made with a double 
interlining of the goods itself, or some heavy white material like 
Indian head. If your pattern calls for a two-piece collar, make the 
turn-over part complete, stitching it around the edge on the outside; 
then placing the centers of each part together, lay the raw edge of 



236 

the turn-over part between the raw edges of the top part of the band 
and stitch them together, continuing the stitching around the ends of 
the band. 

To sew on the collar, stitch the under side of the band and the 
interlining to the neck of the shirt turning the seam out toward the 
right side. Turn in the raw edge of the outside of the band to cover 
this stitching, baste and stitch in place (it is advisable to pin the collar 
on the neck of the shirt and baste from the center back toward the 
front.) Fasten the band together at the ends with a button and but- 
tonhole, placing the buttonhole on the left side. Near the bottom of 
the front ends of the turn-over part, work two buttonholes opposite 
each other, crosswise of the material (to hold the collar link). 

THE SLEEVES. 

Join the sleeves with felled seams. Finish the opening with a 
bound placket (Chap. II, Par. 161); place a few gathers in the back 
of the sleeve (on the under side). The cuffs should be interlined the 
same as the collar and may be sewed to the sleeves in the same way that 
you sewed the collar band to the neck of the shirt; if the cufTs are to 
lap, sew them around to the edge of the extension side of the placket. 

If the cuffs are to be held together with cuff links, turn under the 
extension of the placket and sew it into the cuff with the bottom of 
the sleeve. 

If a lapped cuff is used, place a buttonhole in the upper side, 
with a button to correspond, on the lower side. If cuffs are to be 
held together with cuff links, work a buttonhole in each end of the 
center of the cuff, making the buttonholes exactly opposite each other. 

NOTE: It may be necessary to trim off some of the material at 
the curves of the armholes to make the sleeves fit and hang properly. 
Sew the sleeves into the shirt with lapped seams. Make tiny cross- 
wise cuts in the under turnings around the curves to make the seam 
lie smoothly. 

FINISHING THE BOTTOM OF THE SHIRT. 

Finish the bottom of the shirt with a facing cut lengthwise of the 
material 1" wide (turn the facing toward the right side of the shirt to 
give it the appearance of a band). Work a buttonhole in one end; 
sew a button on the other end to correspond. 



237 



EMBROIDERED LUNCHEON SET 




MATERIALS. 
Linen (Chap. I, Par. 40). 

1% yards plain woven linen, 
36" wide. 

Embroidery cotton (dell" 
blue, brown, pink, green). 

Embroidery needle. 

Thread No. 80. 



INTRODUCTORY STATEMENT. 

Most housekeepers take great pride in having on hand a bountiful 
supply of attractive table linen. Many girls enjoy making a collection 
of pretty embroidered towels, table linen, doiles, etc. 

Luncheon sets are particularly attractive on a polished table and 
many prefer to use them in place of the large table cloths; they are 
also much more easily laundered. 

The luncheon set shown in the lesson would make a very attrac- 
tive addition to any home supply of linen or to a girl's "Hope Box." 
Such a combination of attractive work in a serviceable article is par- 
ticularly suitable for a Christmas gift. 

In undertaking a complete set of this kind it would be well to 
finish one or two pieces in the class and make the remaining pieces at 
home. The optional modifications off'er suggestions for embroidery 
designs that, no doubt, will appeal to difl'erent members of the class. 



References : 

Students' Textbook on Color. O. N. Rood. 
Principles of Science of Color, Wm. Benson. 



238 
SUGGESTIONS FOR OPTIONAL MODIFICATION. 




SCALLOPED LUNCHEON SET. 

No. I. This set consists of a round center piece with six plate 
doilies and six tumbler doilies. It is made of ecru colored linen. 

HEMSTITCHED LUNCHEON SET. 

No. 2. This set consists of one luncheon cloth and six napkins. 

The edges are finished with hemstitched hems. It is made of damask 

linen. 

CROCHETED LUNCHEON SET. 

No. 3. This luncheon set consists of a square center piece and 
three sets of square doilies. The edges are finished with crocheting 

CRETONNE LUNCHEON SET. 

No. 4. This set consists of two runners which cross in the center, 
two oblong pieces, and two sets of doilies. These cretonne sets may 
be purchased in an art needlework department and the edges finished 
to suit the taste. The edges of these doilies are finished with cro- 
cheted lace. 



239 
WORKING DIRECTIONS FOR LUNCHEON SET 

PREPARING MATERIAL. 

Straighten one edge of the material; measure down on the selvage 
36" to form a square for the lunch cloth. Draw a thread crosswise, 
cut on the line (the remaining material is to be cut into six 12" 
squares, which are to be used for the napkins). For the straight edge 
measure down on the remaining piece 12"; draw a thread crosswise; 
from the line formed, measure down 12' on the selvage; draw an- 
other thread crosswise. Measure out on the straightened edge 12"; 
draw a thread lengthwise; from the line formed, measure out again 
on the straightened edge 12", draw another thread crosswise; cut on 
the lines formed. 

FINISHING THE EDGES. 

Make a hem Yi" wide around the edges of the lunch cloth and the 
napkins. On the selvage edges, before turning them under, make 
tiny crosswise cuts about 3" apart to keep them from puckering when 
laundered. You will observe in the illustration that the hems are dec- 
orated with cross-stitching. (Delf blue embroidery floss was used 
very effectively for the work in this luncheon set). Any mercerized 
embroidery floss may be used, but it should be rather coarse. No 
attempt is made to give the size of embroidery cotton to use, as there 
are several different brands on the market and the numbers of the 
sizes in the different brands vary considerably. 

To make the cross-stitched border on the luncheon set, overcast 
the edges over the hem working from left to right on the right side of 
the material; make the stitches V^" apart. Return and overcast the 
hems again, placing the stitches half way between the stitches made 
the first time. The threads should cross in the middle of the hems 
in the front and back. 

THE DESIGN. 

The design used in the luncheon set in the illustration may be 
purchased in almost any pattern department. This design is worked 
in cross-stitch. NOTE: It is difficult to make an original cross- 
stitch design because it is not only necessary to draw the outline, but 
it is also necessary to draw each stitch in its proper position. Any 
other design may be used to suit the taste, although you will find 
that this design carefully worked out makes a very attractive lunch- 
eon set. 



240 



Transfer each design to the corner of the luncheon cloth and 
napkins by placing it rough side down and pressing it with a hot iron. 
Remove the patterns and work the designs. 

The basket should be worked with brown embroidery cotton; 
the flowers in the basket should be worked with dark green, light 
green, pink and blue, the colors being combined to suit the taste. (Do 
not use knots in beginning the stitches, as you are working on an 
article which will not be covered with other material on the wrong 
side.) Small backstitches or running stitches may be used in starting 
a new thread. 

This lundh cloth consists of the center piece and napkins only, 
but if desired, different sized sets of doilies may be made instead of 
the napkins. They can be made circular in shape as well as square, 
although it would be more difficult to make the hems even. 



241 
REVIEW QUESTIONS AND PROBLEMS. 

1. What are the essential points in designing a combing jacket? 

2. Design a combing jacket and explain how it should be made; 
be sure to discuss each process and state the ditlerent kinds ot 
stitches used. 

3. Why is a night gowTi considered rather an easy garment to 
make? 

4. What sort of material would you select for a kimono? Why? 

5. Why is silk such an expensive material? What materials are 
sometimes used as a substitute for silk? 

6. What kind of material is suitable for undergarments? 

7. What is a ruffle? Name some garments on which the rutlle 
is frequently used. Explain. 

8. Of what material should pajamas be made for very cold 
weather? 

9. Design and explain how you would make pajamas for some- 
one who expected to sleep out of doors in cold weather. 

10. W^hat is a placket? Name four or five garments requiring 
plackets and explain how the placket should be made in each. 

11. Of what material should a boy's shirt be made? 

12. Why is linen particularly desirable for table cloths and 
napkins? 

13. Design an embroidery luncheon set. Calculate the cost of 
all the materials, estimate the time that it will require to complete 
it. Counting your time worth 20c per hour, what would be the 
worth of the complete set? 

14. How would you undertake to remove an unknown stain 
from a white linen towel? 

15. How would you prepare a good general purpose cleaning 
fluid? 

16. W^hat precautions are particularly necessary in doing any 
kind of garment cleaning? 

17. What cleaning and pressing of garments have you tried at 
home? 



242 
SUGGESTIONS FOR HOME APPLICATION. 

After you have completed the work of this section you should be 
able to do a great deal of your own sewing. However, you will likely 
meet many problems which, on account of lack of space, were not 
dealt with in this text. The following suggestions may assist you 
in some of your home problems. 

1. The ruffle for a petticoat may be gathered very satisfactorily 
on the sewing machine, using the special attachment which accom- 
panies the machine. 

The greatest difficulty found in using a machine gatherer is in 
adjusting it to the proper fullness, so that the ruffle may fit the part 
of the garment where it is to be placed without re-adjusting the 
gathers. When you are gathering a ruffle on the machine try the 
following method of adjusting the ruffle to the goods: Divide the 
garment where the ruffle is to be placed, in halves or fourths; divide 
the ruffle in a corresponding manner. Measure one division of both 
the skirt and the ruffle; find the proportion existing between them. 
For instance, if the space on the garment is 18" and the length of the 
space on the ruffle is 24", the proportion will be 18" to 24" or the 
gathered ruffle is to be 18/24, or % the length of the ungathered 
ruffle; take a piece of cloth and adjust the gatherer until it will gather 
this piece to % of its length ; that is, if the piece is 8" long, adjust the 
attachment to gather it to 6". When the attachment is properly ad- 
justed, gather the ruffle. 

2. Tucks make very attractive trimming for drawers; they may 
be made quite easily on the sewing machine with a little practice by 
using the tucker attachment. This adjusts the width of the tucks 
and the spaces between them. Do not attempt to make tucks on a 
garment until you have practiced making them on another piece of 
cloth. Be careful to study the instructions given in the book of direc- 
tions which accompanies your machine. 

If the tucks are made before the seams are joined, you must be 
very careful to make them even in width and spacing (particularly at 
the ends where they are to be joined). If the tucks are made after 
the seams are joined, they will be continuous and for that reason 
will make a better appearance. It is a little difficult to tuck over the 
seam however, and where this is to be done, the seams must be very 
small and flat. 

Very narrow lucks may be made successfully without using the 
tucker, in the following manner: Fold and stitch the first tuck in the 



243 

desired position. With a tape line or cardboard gauge, measure from 
the fold of this tuck to the place where the fold of the next tuck is to 
come. Crease on a thread and stitch the second tuck in place. Con- 
tinue in this way until all the tucks are laid. 

3. Embroidery used for a ruffle on a petticoat usually wears 
around the bottom while the upper part is still in good condition. If 
you have any petticoats which have become worn in this way, try 
this method of repairing them: Trim off the worn portion of the 
embroidery and the drop ruffle. Hem them with narrow hems and 
sew lace around the bottom of the embroidery wide enough to reach 
the bottom of the under part of the skirt. Sew lace on the drop 
ruffle also, if it is needed to make the skirt a little longer. 

4. If you have a plain narrow petticoat, a simple way to make 
it wider is to cut it between the gores with a straight cut from the bot- 
tom towards the top a distance of about 12". Lay a piece of material 
under the opening, spread it open like a V and stitch in the extra piece 
with lapped seams. A ruffle may be put on at the bottom if desired. 

5. Tf the prevailing style calls for narrow petticoats and yours 
are all full and wide, rip the ruffle off the back gore, cut out the gore, 
making the skirt as much narrower as desired, cut a piece out of the 
ruffle to make it fit the skirt, join the ruffle again with French or 
felled seams and sew it back in place. The ruffles may be removed 
from the skirt and the fullness taken off each gore, the ruffle made 
smaller, as suggested above, and replaced. The condition of the 
garment should govern the amount of work that you use in re- 
modeling it. 

6. A boy's shirt usually wears out first around the neck and 
cuffs. If you can find any shirts at home in this condition cut off the 
collar bands and cut the necks to a V shape in front and face the 
opening. Cut the sleeves short enough to reach just (o the elbow 
and hem \\'ith W hems, make any other repairs necessary. These 
shirts will be very comfortable for summer, 

7. Luncheon sets instead of table cloths may be used in the 
summer time to great advantage, as they are easily laundered and 
give a cool appearance to the table. Examine the table linen at home 
and select a table cloth which is beginning to wear out. Cut out the 
good part and make a luncheon set, stitching the hems on the machine 
and finishing them with double overcasting used in the last lesson of 
this section. 



244 



INTRODUCTION TO SECTION VI 

THE work of this section is intended only for students who have 
completed the elementary processes set forth in the earlier parts 
of this book. The undergarments and others which may not be 
rendered worthless by a slight inaccuracy in cutting and fitting were 
presented in Section V; students who have completed the work of 
that section should be able to undertake the work of this section 
wihout difficulty. 

Before beginning any of these projects the class should make a 
careful study of Patterns and Pattern Drafting as presented in Chap- 
ter IV, of the supplement. Whether or not pupils are to draft their 
own patterns, they should by all means become familiar with the 
function of patterns. They need also to know something about how 
to take measures and to apply them in working out a pattern. 

The illustrated pages of Suggestions for Optional Modifications 
are not used in this section; by this time students should be able to 
design and work out modifications to suit individual taste. The 
working directions are not so detailed, neither are the references given 
for the fundamental stitches, it is supposed that girls who are able 
to undertake this work will not need help on the elementary processes. 

The garments presented in this section are all very conservative 
in style; they deal with foundation principles and the effort has been 
to present them in such a way as to leave considerable latitude for 
adaptation to local style or personal taste. 

A student should not be taught to make any particular style of 
waist or skirt, for the sake of the garment alone, but she should be 
given a comprehension of all that is fundamental in waist or skirt 
making; this sort of garment making together ^^^th the the proper 
conception of pattern drafting will result in real educational garment 
making which will enable the girls to alter, adapt, modify or even 
ignore the dictates of undesirable styles and exercise judgment, artistic 
taste and real personality in handling their sewing problems. 



245 




MIDDY BLOUSE 

MATERIALS. 

Indian Head (Chap. I, Par. 

21), or 
Galatea (Chap. I, Par. 18). 

2^2 to 3 yards of material 

above. 
V2 yard material for collar 

and cuffs. 
4 yards braid. 
Tie. 
Thread No. 70. 



INTRODUCTORY STATEMENT. 

For out of door sports like tennis, golf, etc., loose fitting gar- 
ments which will give free play to all the parts of the body are very 
necessary. The middy with unconfmed waist line makes a very 
appropriate garment for this purpose. The middy is especially pop- 
ular at the summer resort, but it is hardly suitable for wear in a 
business office. 

As it usually has to stand hard service, the favorite materials 
used in making the middy are the heavy cottons, like Indian head, 
and galalea cloth. 

The project introduced here embodies most of the principles em- 
ployed in making an unlined waist with a low collar; it gives good 
practice in simple fitting, and in setting in sleeves which is one of 
the important problems in dress making. The middy generally has 
very little trimming consisting usually of flat braid on the collar, 
pocket and cuffs. The collar gives individuality to the middy so 
different colors are used, even flannel collars are sometimes used. 
The favorite colors are red, blue and black. Care should be taken 
to select these in fast colors only. The middy shown here is made 
with a red collar trimmed with white braid. 



References: 

A\'*hat Dress Makes of Us, Dorothy Quigley. Dutton & Co., \. Y 
What to Wear, Elizabeth Stuart Phelps. Houghton. 



246 

WORKING DIRECTIONS FOR MIDDY BLOUSE 

PREPARING MATERIAL. 

Shrink the white cotton material. If colored material is used, 
soak it in a strong solution of salt water, to set the color. NOTE: 
When colored material is used for the collar and cuffs of the middy, 
be careful to select material which is dyed with a fast color. Red is 
very likely to run; that is, the color comes out in the washing and 
discolors the white material in the waist. 

PREPARING THE PATTERN. 

As commercial patterns in varying styles of middies may be 
purchased, in sizes that will fit the average person, it would be desir- 
able for you to use one in making this middy. However, you may 
use a drafted pattern by modifying the draft for the shirt waist given 
in Chap. IV. For a plain middy, allow the pattern to extend about 
6" below the waist line. (Do not shape it in at the waist line). If 
you wish to have a yoke in your middy, plan the depth and the shape 
of it and draw it on the upper part of your waist pattern. Cut the 
pattern in two on the line, and when you cut out the waist, allow extra 
material on the edges for seams. As a middy usually has a pocket in 
it which is set in on the wrong side you may measure down from the 
shoulder 8Y2" and make an opening for the pocket about 2V2" long 
perpendicular to the front edge of the pattern; place it about half 
way between the armhole and the front edge. Use the draft for the 
shirt waist sleeve, without fullness at the top. Cut off to the length 
desired. 

CUTTING OUT THE MIDDY. 

After modifying the pattern, place the center front of the yoke 
and the lower part of the middy on a fold of the material, wide 
enough to cut the front in one piece. Place the center back of the 
pattern on a fold of the material in the same way. Place the sleeves 
with the crease in the center of the pattern parallel with the warp 
threads of the goods. Pin all the patterns in place and cut out the 
middy. Use a commercial pattern for the collar. If the collar is to 
be made double, cut out the upper portion from the colored material 
and the under portion from the white material. 

Cut the cuffs the same length as the bottom of the sleeves, making 
them about 21/2" wide at the ends and 3 " wide at the center. 



247 

JOINING SEAMS AND SETTING IN POCKET. 

If the middy is made with a yoke, join the yoke to the lower 
part of the waist with lapped, or felled seams, before joining the back 
and front (make short crosswise cuts on the underturned edges of all 
lapped seams around curves, to prevent puckering). 

Cut the front yoke down the center front as far as you desire to 
have it open at the neck. Fold back and cut away the extra material. 

Set in the pocket before closing the seams. Cut one piece of 
white material for the pocket 4"x5". Gut another piece 3y2"x4". On 
the end of each sew a strip of the colored material 2"x4"; turn over 
the faced ends about Vk" and turning in the raw edges of the opening 
cut for the pocket, lay these ends over them on the wrong side, letting 
them extend so they show as the piping on the right side. Stitch 
along the edge of the opening; continue the stitching on the ends 
and make parallel rows of stitching 1/2" each side of the opening for 
the pocket. Turn the material to the wrong side and stitch the two 
pieces together to form the pocket on the under side. 

Felled seams may be used to join the shoulder and under-arm 
seams. French seams may be used to join the sleeves. Pin and baste 
the sleeves together on the right side. (If single cutTs are to be used 
sew them on before basting sleeve as directed below.) After the 
seams are basted, try on the middy. Fit it according to general sug- 
gestions for fitting a waist in Chap. IV. Remember this garment 
should not be fitted in at the waist line and should be rather loose 
fitting in every way. Pin in the sleeves, adjust them to the proper 
length. Remove the garment, rebaste on the line of fitting and finish 
the seams. Sew the sleeves into the armhole with lapped seams. 

THE CUFFS. 

If the cuffs are turned back, separate from the sleeve, they 
should be made double. To make them, first sew three parallel rows 
of braid (as in the illustration) on the colored piece. Stitch the 
colored material to the w^hite material along the top edge, open the 
materials and stitch across the end, thus making a circular culf. 
(^When this is stitched it should be the same length as the bottom of 
the finished sleeve.) Turn it right side out. To sew it on the sleeve, 
place it so the seam is even with the seam in the sleeve, with the right 
side of the cufis on the wrong side of the material of the sleeve. Stitch 
the two edges together. Fold the edge of the wrong side of the cutt 
until it covers the stitching, baste and stitch on the sewing machine, 
or hem by hand. Turn the cufi" back over the seam. 



248 

If you wish to make the cufT single, it should be made and joined 
to the sleeve before the sleeve is sewed together. To do this, place 
the straight edge of the cuff on the edge of the bottom of the sleeve. 
Baste and stitch in place, turn in the raw edge of the top of the cutf, 
and baste and stitch it to the right side of the sleeve. Baste and 
stitch three parallel rows of braid near the top of the cuff, as in the 
illustration; then make the seam in the sleeve, joining the ends of 
the cuff in this seam (be careful that they are exactly even). 

SETTING THE COLLAR. 

Sew the lining and the top of the collar together, leaving the 
edge around the neck open; turn to the right side, stitch on the braid 
in parallel rows as in the illustration (if desired, emblems may be 
used instead of braid). Place the center back of the neck of the 
collar on the center back of the neck of the waist. Let the ends just 
cross each other in front. Baste the collar to the neck of the waist, 
turning the seam toward the wrong side. Trim the seam close and 
finish with bias tape, stitched on both edges. 

FINISHING THE BOTTOM OF THE MIDDY. 

The bottom of the middy may be finished with a facing turned 
to the right side and stitched in place, or, it may be finished with a 
double piece about 4 " wide, sewed to the bottom of the middy, turned 
up to the top and left loose. 

A middy is sometimes finished with a hem; use a wide or a 
narrow hem as desired. 



249 




TAILORED 
WAIST 

MATERIALS. 

Dimity (Chap. I, Par. 15) or 
Lawn (Chap. I, Par. 23) or 
Madras (Chap. I, Par. 25) or 
Percale (Chap. I, Par. 31). 

2V2 yards of 36" material. 

4 buttons. 

Thread to correspond with. 

material. 



INTRODUCTORY STATEMENT. 

The wearing of tailored suits has made the separate blouse a 
necessity. The style of this separate blouse varies from the beautiful 
lace, chiffon, net and fancy silk waists to the semi-tailored and the 
strictly tailored or mannish shirt waists. While the strictly tailored 
waist is worn with stiff collars and cuffs, it may be modified by 
changing the shape of the collar and the style of the cuffs into a 
much more comfortable and becoming garment. 

The heavier materials used in making the shirt waist are linen^ 
percale, and similar materials. Lawn, voile, crepe de Chine, China 
silk, dimity and organdie are some of the thinner materials fre- 
quently used. 

The white dimity waist shown in the illustration is a simple 
modification of the regular tailored waist. The rolling collar takes 
the place of the collar band, and the fitted cuffs take the place of the 
stiffly starched cuffs which are usually fasten with links or cuff 
buttons. 



References : 

Principles of Correct Dress, F. H. Winterburn. 

The Well Dressed Woman, H. G. Ecob. Fowler & Wells Co. 



250 
WORKING DIRECTIONS FOR TAILORED WAIST 

PREPARING MATERIAL. 
Slirink the material if cotton goods is used, 

CUTTING OUT THE WAIST. 

A commercial pattern may be used for this waist. If it is used, 
carefully study the guide chart and directions accompanying it. Or, 
if desired, patterns for the waist and sleeves may be drafted accord- 
ing to the directions given in Chap. IV. 

If a drafted pattern is used there is no allowance made on the 
front pieces for finishing, or lapping; these edges should be finished 
before the waist is cut out; then the center front of the pattern should 
be laid on the line where buttons and buttonholes are to be placed. 
The front edges of the waist shown in this lesson are finished on the 
wrong side with a facing or hem about 'SV2" wide, as shown in the 
illustration. 

The front of a shirt waist may be finished on the right-hand 
side with a hem about IV^" wide, turned to the right side and stitched 
1/4" from each edge, if the material is the same on both sides. If the 
material is different on the wrong side, this edge may be finished 
with a facing turned to the right side and finished as suggested for 
the hem. The left-hand edge may be finished with a hem V2" or %" 
wide. 

If the waist is to be tucked, it may be tucked before laying on the 
pattern, then cut out in the same manner as a plain shirt waist. 

JOINING SEAMS. 

A yoke should be fastened to the body of the waist with lapped 
seams. The sleeves and under-arm seams may be joined with French 
seams, while the shoulders should be joined with felled or lapped 
seams. After the waist is basted together it should be tried on and 
fitted (see suggestions for fitting a waist. Chap. IV). The bottom of 
the waist is to be finished with a band or peplum, the extra material 
below the waist line may be trimmed away at this time ( be careful 
not to cut the waist too short). After fitting remove waist, rebaste 
it if necessary and finish the seams. 

FINISHING THE NECK. 

With collar as shown in illustration. Cut a doubled strip of 
material 3" wide at the ends and 21/2" wide in the back (cut this collar 
out of scraj) material first and see that it sets properly before you 



251 

cut it from your waist material). Baste the ends and top edges to- 
gether, with the center backs even, baste the under side of the collar 
to the right side of the waist, letting the ends come out exactly even 
with the front edge of the waist, as in the illustration (the neck curve 
should be trimmed off the ends of these front pieces). Stitch in 
place; turn the upper side of the collar over until it covers the stitch- 
ing. Baste and stitch in place. 

With collar band. Sew the two pieces of the collar band to- 
gether on the top edge; baste the outside edge to the neck as pinned 
in fitting; turn in and baste the inside edge over the seam formed; 
keep it just opposite the outside edge. Turn in the ends and stitch 
all around the collar band. 

CUFFS. 

Cuffs shown in lesson. Cut a strip for each cuff 6V2" wide and 
long enough to allow the hand to slip through easily when the ends 
are joined. As the cuff is made double, sew one edge onto the bottom 
of the sleeve, which may be gathered a trifle if necessary. Turn in the 
raw edge on the opposite side and fold it over to cover the stitching; 
pin, baste and stitch in place. Sew the ends together with the seam 
of the sleeve, tapering it off toward the hand. 

Tailored Cuffs. Up from the bottom edge, cut an opening 41/2" 
long 1" from the center back of the sleeve. Finish this opening with 
a bound placket (Chap. II, Par. 161), varying it as follows: Before 
stitching the second time trim off the inside thickness of the placket 
to within V^" of the edge on the upper side; baste and stitch it flat on 
the sleeve on the long edge and across the end at the top of the placket 
opening. 

To finish placket on the outside, cut a strip IVo" wide, and 2" 
longer than the placket opening; make it pointed at one end, turn in 
the raw edges; make the straight end even with the bottom of the 
sleeve and one edge even with the upper edge of the placket. Baste 
and stitch it in place. At the end of the opening make two parallel 
rows of stitching across the placket. 

For the cuffs, cut two strips of material 10" long and iS" wide; 
cut two strips of heaiy cotton material the same length and half the 
width (for interlining). Baste the piece of interlining to the wrong 
side of each cuff, making it even on the edges. With the interlining 
on the outside, fold the cuff double and stitch the two ends together. 
Turn right side out and baste around the folded edges. Place the 
edge of the interlined side on the bottom of the sleeve, making the 



252 

ends even with the edge of the placket. (If the cuffs are to be lapped, 
allow the end of the cufT to come to the edge of the extension on 
the under side of the placket; if they are not to be lapped, but joined 
with cuff links, turn the extension piece back on the under side of 
the sleeves and sew it in with the cuff). Baste and stitch the cuff in 
place, gathering the sleeves into the cuff on the under side, if neces- 
sary. Turn in the opposite edge of the cuff; pin, baste and stitch in 
place on the right side of the sleeve. In the center of each end of the 
cuff, V^" from the edge, work a buttonhole for the cuff link. 

FINISHING THE BOTTOM OF THE WAIST. 

With band. Gather the bottom of the back edge of the waist to 
about 10", starting and finishing the gathers 2^2" from the under- 
arm seams; gather the lower edge of the front pieces and draw them 
up enough to make the bottom of the waist fit the band. Sew on the 
band the same as directed for the tailored cuffs (omitting the inter- 
lining of course). The band may be made loose and have a piece of 
elastic run through it. 

With tape. Baste and stitch a tape about W wide over the gath- 
ers at the waist line in the back. Let the bottom of the waist hang 
loose and extend about 4" below the waist line. 

FASTENINGS. 

Join the waist in front with buttons and buttonholes worked 
lengthwise and barred at the ends (Chap. II, Pars. 135-136). 




253 

TAILORED SKIRT 

MATERIALS. 

Linen (Chap. I, Par. 40) or 
Galatea (Chap. I, Par. 18) or 
Indian Head (Chap. I, Par. 
21). 

Amount of material called 
for in commercial pat- 
tern, or if drafted pattern 
is used, plan from the 
pattern (the amount will 
vary with the style of the 
garment and the size of 
the person). 

Belting 2" longer than waist 
measure. 

6 snaps. 

2 large hooks and eyes. 

Thread No. 70. 

INTRODUCTORY STATEMENT. 

The tailored skirt is given in this section because it is the foun- 
dation of all pleated or draped skirts. The principles involved in its 
making must be mastered before one can hope to make the more 
elaborate skirts. The beauty of the tailored skirt lies in the good 
lines, careful machine stitching, and perfect fit of the garment. 

The skirt in this lesson is made of Indian head, a smooth finished 
material. Ratine or other rough finished goods should be reserved 
until one has had considerable practice in sewing for it is very diffi- 
cult to stitch the rough material. 

If you succeed in making your skirt so it fits well, has the lines 
of the seams running properly, is stitched nicely, and hangs evenly, 
you may feel that you have laid a good foundation in j'^our training 
for some of the more difficult problems of skirt making. 




References ; 



Needlework and Cutting Out, Kate Stanley. 
Costume, Arden Holt. 



254 

WORKING DIRECTIONS FOR TAILORED SKIRT 

PREPARING MATERIAL. 
Shrink the material and the belting. 

CUTTING OUT THE SKIRT. 

A drafted pattern may be used for the style of skirt shown in the 
illustration (See Chap. IV). If you desire to vary this skirt from the 
plain skirt by pleating it, it is wise to use a commercial pattern. If 
the commercial pattern is used, study carefully the guide chart and 
directions which accompany it (it is a good plan to pin the pattern 
together and fit it before cutting out the material). 

If the drafted pattern is used for a skirt finished with a pleat in 
front, as shown in the illustration, fold over the edge of the goods 
lengthwise and place the center fold of the pattern as far from the 
folded edge of the material as you desire the width of the pleat. The 
other side of the front should be allowed to extend beyond the edge 
of the pattern the distance which it will lap under the pleat. Remem- 
ber, in cutting the back gores, to have the straight edge of the pattern 
laid parallel with the warp threads. 

SEAMS. 

The seams on a tailored skirt may be finished in a variety of 
ways. Heavy material is often stitched together in plain seams, the 
seams being finished with overcasting. A neat way to finish such 
seams on the right side is to press the raw edges on the under side 
of the seam flat on the skirt; baste and stitch through them Vg" to V^" 
from the seam on the right side. 

To give a pleated effect at a seam, baste it in the usual way; lay 
both raw edges of the seam flat against the wrong side and stitch 
through them from the right side, making the row of stitching par- 
allel with the basting; remove the basting and a pleat wall thus be 
formed on the right side. 

In basting seams, be careful to have the parts of the skirt exactly 
even at the top; pin them together before basting and use small bast- 
ing stitches near the top so they will not pull apart when fitted. It is 
a good plan to hold the bias edges toward you when basting. 

When fitting the skirt, follow the suggestions given in Chap. IV. 



255 

PLACKET. 

For the placket opening under a pleat like the one shown in the 
illustration, use a faced placket (Chap, II, Par. 163). For a placket 
opening at the end of an ordinary seam, use the extension placket 
(Chap. II, Par. 162). If the skirt is gathered, a bound placket (Chap. 
II, Par, 161) may be used. Use hooks and eyes, or snaps, to hold the 
placket closed. Large buttons with buttonholes are sometimes used 
to fasten the placket and to form a trimming for the skirt, 

FINISHING THE TOP, 

The top of a tailored skirt is usually finished so it can be worn 
outside of a shirt waist. Belting is used for this purpose. If the skirt 
extends to the waist line, a narrow belting about 1" wide should be 
used; if it is to be raised above the waist line, wider belting should be 
used (the width of the belting will depend upon the distance the skirt 
is to be raised). 

Before sewing on the belting, fit it to the waist, turn back the 
ends about 1", and sew on at least two strong hooks and eyes (use a 
rounding eye and allow it to extend over the end of the belt as shown 
in Chap. II, Par. 133). The belting should be hooked around the waist 
allowing it to open at the same place the skirt is to open. Put on 
the skirt and pin it to the belting near the center, or bottom edge so 
the raw edges at the top of the skirt may be turned in at the top of 
the belting. 

Remove the skirt; if necessary trim off the top of the skirt, turn 
in the raw edges, letting them extend about Vs" above the edge of 
the belting; baste and stitch the skirt in place near the top edge of 
the belting. (It maj'' be necessary to trim off the end of the extension 
piece on the placket to make it fit in between the upper side of the 
placket and the belting when the skirt is fastened together). The 
raw edges at the end of this piece may be turned in and overhanded 
together. 

FINISHING THE BOTTOM. 

NOTE: After the belt is adjusted, the skirt should be evened 
around the bottom, using the skirt gauge or a yard stick as a guide. 
The extra material may be turned back on the wrong side of the 
skirt for a hem. 

Baste the hem in place, as pinned, around the lower edge; make 
it the width desired, using a strip of cardboard, or gauge, as a guide 
in making it even. Turn in the raw edges, take up the extra fullness 
in small pleats, baste and stitch the hem in position (the quilter 



256 



attachment on the sewing machine may be used as a guide in stitch- 
ing this hem parallel with the bottom of the skirt). A second row 
of stitches about ^A" from the first row is often used as an additional 
decoration. 

If there is not enough material on the bottom of the skirt to form 
a hem, it may be faced by sewing a bias strip the width desired, to 
the bottom of the skirt, turning it back and finishing it like a hem. 

A fitted facing may be used if desired ; it may be sewed on in the 
same manner as the bias strip. 



257 

HOUSE DRESS 

MATERIALS. 

Gingham (Chap. I, Par. 19) or 
Percale (Chap. I, Par. 31). 

Amount of material called for 
in pattern, if commercial pat- 
tern is used. If drafted pat- 
tern is used, figure from the 
pattern the amount of ma- 
terial you will need, as it will 
vary with the style of the 
garment, the size of the per- 
son, and the width of ma- 
terial. 

8 buttons. 

Thread No. 70. 



INTRODUCTORY STATEMENT. 

Every girl should try to dress in keeping with the work that she 
is doing. It would look very inappropriate to see an otlice girl at 
work in an evening dress. It would look just as inappropriate to see 
a woman or girl at work in the house dressed in worn-out finery. 

As housework generally soils the clothes very quickly and a wool 
dress is more or less difTicult to clean, house dresses made of wash ma- 
terial which can be laundered as fretiuently as necessary are much 
preferable. 

A house dress should be made of good fast colored material, pre- 
ferably in one piece, with very little trimming. White collars and 
cuffs made of piquet, lawn, embroidery or a lace edge on the collar 
made of the material of which the dress is made, or pipings or bands 
of white piquet or contrasting color, make attractive trimmings on a 
house dress. A nicely made house dress for a young girl would also 
be appropriate for school wear. 

The house dress in the illustration shows one type of the tailored 
skirt combined with a simple shirt waist. This waist involves prac- 
tically the same principles as are found in the middy except that it is 
gathered into a belt at the waist line and is made with a different 
style of collar and sleeve. 




References: 

Practical Drcssniakiii};, Mrs. J. Hoiifihten. 
Home Dressniakinij, Annie Myers. 



258 

WORKING DIRECTIONS FOR HOUSE DRESS 

PREPARING MATERIAL. 

Shrink the material. 

CUTTING OUT THE HOUSE DRESS. 

For the house dress shown in the illustration, the drafted patterns 
for the shirt waist, sleeves and plain gored skirt may be used (see 
Chap. IV). As this is a four-piece skirt with a side front opening 
it will be necessary to cut the front gore of the pattern double. To 
make the side opening, measure from the center front 2" to the right; 
fold the pattern, cut it lengthwise on the crease. The back may be 
made in on piece by placing the center back of the back pattern on a 
fold of the material; or, it may be cut in two pieces with a seam up 
the center back. Be careful to allow for seams or pleats in cutting 
out the skirt, if they have not already been allowed on the pattern. 

Finish the front edges of the waist as desired before cutting out 
the waist with a drafted pattern. The right-hand side of the waist 
in the illustration is finished with a wide hem turned toward the 
right side and stitched i/4 " from each edge. The left-hand side of the 
opening is finished with a y2" hem turned toward the wrong side. 

A commercial pattern may be used in making the house dress if 
desired. If one is used, carefully study the guide chart and directions 
which accompany it. 

THE SEAMS. 

The waist may be joined at the shoulder with lapped or felled 
seams, finished on the right side. The under-arm seams and the 
sleeves may be joined with French seams. The gores of the skirt may 
be joined v^ith plain overcast seams if the material is firm, like ging- 
ham, percale, or linen. French seams are used in gathered skirts, or 
on thin material. 

FITTING THE HOUSE DRESS. 

Follow the suggestions given for fitting a waist and skirt in 
CJiai). IV, (be careful to mark the waist line on the waist with pins). 

SETTING IN SLEEVES. 

The waist should be tried on, the edges of the armholes turnefl 
in and the sleeves pinned in position so the top will hang straight 
from the shoulder to the back of the hand, and so the under-arm 
seam will hang straight from the arm's eve to the wrist. The waist 



259 

should then be removed and the sleeves basted and stitched in place 
with lapped seams. 

Set-in sleeves with gathers at top. Join the seams of the sleeves, 
fold the armholes so the shoulder seams and the under-arm seams lie 
together. Crease the fold formed on the back and front of one arm- 
hole; place the seam of a sleeve in the armhole 2i/4" to 2^2" in front 
of the under-arm seam. Pin the under part of the sleeve to the arm- 
hole from the crease on the front to the crease on the back. Gather 
the top of the sleeve between the two creases. Adjust the gathers 
allowing the greatest fullness at the top of the sleeve. Baste it in 
place. Try it on, see that it hangs as suggested for the plain sleeve, 
stitch in the sleeves and finish with overcasting, or binding. 

To bind the sleeve. Cut bias strips about "34" wide, stitch in one 
edge when you stitch in the sleeve, trim the seam to about Yi" ; turn 
in the raw edges of the binding on the other side and hem or stitch 
in place. The bottom of the sleeves in this lesson are finished with a 
double lengthwise strip of the material. 

Sleeves are finished in such a variety of ways, however, that no 
attempt is made here to explain any one method. 

FINISHING THE NECK. 

The simple turned-over collar shown in this lesson should be cut 
from a commercial pattern and sewed together around the outside 
edges. With the center back of the waist and center back of the collar 
together, pin, baste and stitch the neck of the collar and the waist 
together. Fold the upper edge of the collar over and turn under the 
raw edges until it covers the stitching; pin, baste and hem or stitch 
in place. These directions are suitable for any double collar. If a 
single collar is used, sew it to the neck with bias tape. 

JOINING WAIST AND SKIRT. 

The dress in this lesson is joined with a band of material like that 
used in making the waist. After the waist and skirt are completed 
(with the exception of the bottom of the skirt) put on the waist, which 
should be gathered at the waist line; adjust the gathers in the waist; 
trim off extra material below waist and put on the skirt. With both 
edges of the band turned under, i)in the lower edge to the skirt an<l 
the upper edge to the waist. (Make the skirt even around the bottom 
and turn up the extra material.) Remove the dress, cut away the 
extra material under the band, leave the bottom of the waist extend- 



260 

under side pin and baste a strip the same width as the band (tor a 
lining) ; stitch this lining in place. 

FINISHING THE BOTTOM OF THE SKIRT. 

Baste the hem in position, as marked, make it even, using a gauge 
or strip of cardboard as a guide; lay the extra fullness in small pleats, 
pin, baste and stitch the hem in place. 

FASTENINGS. 

The house dress in the illustration is fastened with buttons and 
buttonholes; snaps or hooks and eyes may be used, instead of but- 
tons if desired. (Do not use snaps on the belt.) 




261 




SCHOOL DRESS 

MATERIALS. 

Linen (Chap. I, Par. 40) or 
Percale (Chap. I, Par. 31) or 
Gingham (Chap. I, Par. 19). 

Amount of material called 
for in commercial pattern. 

Thread No. 70. 

Fastenings necessary, ac- 
cording to style of dress. 

Belting, 2" longer than 
waist line. 



INTRODUCTORY STATEMENT. 

During their school days, girls are forming habits that will last a 
life time. It is very essential that they get into the habit of dressing 
appropriately for school. The schoolroom is the school girl's place of 
business and she should take just as much pride in coming there prop- 
erly dressed as the successful business girl does in appearing properly 
dressed for her work. A girl should learn to distinguish between what 
is appropriate and what is inappropriate to wear. This can be done 
only by observation and thoughtful study of the problem. 

The well dressed girl will avoid enormous bows on her hair, 
extremely low cut necks in her dresses, over trimmed effects and 
gaudy or too striking combinations of colors. The school dress should 
be comfortable, neat and attractive; it should be made on very simple 
lines, preferably in one piece so there will be no danger of it "appear- 
ing in two parts" at the waist line. Summer dresses for school are 
appropriately made of plain finished cotton materials like ginghams, 
percales, chambrays or linens. Serge and panama are very practical 
fabrics for winter dresses. 

The dress in this lesson is made of dark gingham, trimmed with 
white braid. The white trimmed collar and cuffs give a clean, cool 
appearance to the dress. 



References: 

Dress, Mrs. Oliphant. 

History of Development of Dress, A. C. Johnson. 



262 
WORKING DIRECTIONS FOR SCHOOLJDRESS 

PREPARING MATERIAL. 

If the material is colored, soak it in salt water to set the color; 
if not, shrink it, 

THE PATTERN. 

The dress in the illustration is made after the so-called Peter 
Thompson style of dress. When you have completed the work of the 
first five sections, you should be able to make this sort of d^ess very 
satisfactorily. The directions given for this dress are for a cotton 
dress. (If you wish to use wool material for your dress, follow the 
directions for making a wool dress). It will be advisable for you to 
use a commercial pattern in making this dress. (You will find it very 
helpful and interesting to draft a pattern and modify it into one 
similar to the one you have selected for your dress.) 

CUTTING OUT THE MATERIAL. 

Study the guide chart and directions accompanying the com- 
mercial pattern. Where notches are necessary, be careful to make 
them very small; plan your material economically. 

SEAMS AND PLEATS. 

Where a tailored effect is desired, use felled or lapped seams. 
If the skirt is to be gathered, materials like linen, gingham or percale 
should be joined with overcast seams. 

Any pleats which the pattern indicates may be marked on both 
sides of the skirt at the same time by basting through the perforations 
which indicate the pleats (with long uneven basting stitches) through 
both thicknesses of the material. When you remove the pattern, cut 
the basting threads and lift one piece of the material away from the 
other about V2" ; cut the threads between them, leaving a row of cut 
threads on each piece of material. As a rule, pleats should be basted 
in place before joining the gores of the skirt. 

TO MAKE EYELETS FOR LACING. 

The back of the skirt, shown in the illustration, is laced with braid 
drawn through eyelets. 

To make an eyelet. With a stilletto (a pointed bone or steel 
punch used in embroidery work) punch a small hole in the goods, 
gradually enlarge it (being careful not to break the threads in the 
material) until it is the size desired. With thread to match the ma- 



263 

terial, sew over and over around the opening occasionally enlarging it, 
or keeping it in shape with the stilletto. 

FITTING. 

When you have decided on the kind of seams most suitable to 
use in your dress, baste it together, laying in pleats where necessary. 
(Be careful to have the gores of the skirt even at the top; pin them 
together before basting; use small basting at the top of the seam, or 
any place where there is likely to be any strain in fitting, which 
might pull the basted seams apart.) After the garment is basted, try 
it on and fit it as directed in Chap. IV. 

SLEEVE. 

A sleeve like the one shown in the illustration should have the 
pleats at the bottom sewed in, also the cuff braided and set on, before 
sewing it together. As they are plain at the top, the sleeves should 
be set in with lapped seams (be careful that each sleeve hangs straight 
from the shoulder to the back of the hand, and that the under-arm 
seams hang straight from the curve of the arm's eye to the front of 
the wrist). 

SAILOR COLLAR. 

The sailor collar should be braided and lined before it is sewed 
to the w^aist. To sew it on, place the center back of the lining on the 
center back of the waist, pin, baste, and sew it to the neck of the 
waist with a Vi" seam. Turn this seam inside the collar and fold the 
right side of the collar over it, turn in the raw edges to cover the 
stitching, pin, baste and hem it around the neck. 

THE YOKE. 

The yoke should be braided, lined on the back, and hemmed to 
the waist on the right side with small stitches, as shown in the 
illustration. 

JOINING THE WAIST AND SKIRT. 

The dress in this lesson is joined with a band of the same ma- 
terial, a very common method of joining dresses of this character. 
The belt should be cut long enough to extend around the waist and 
allow for the extra length necessary to open the skirt on the side. 
Take a piece of soft belting, the width desired for the band, tit it to 
the waist, turn back the ends, sew on hooks and eyes (use the round 
eyes and let them extend over the end of the belting, as showTi in 
Chap. II, Par. 133). Hook the belt around the waist, letting it open 



264 

at the center front; put on the waist, pin it to the top of the belting 
and trim away the extra material; put on the skirt and pin it to the 
lower part of the belt, leaving loose the edge which must extend 
beyond the center front; turn in the edges of the material cut for the 
belt, and line the end which is to be fastened to the loose edge of the 
skirt. Pin it in place over the skirt and waist; make the skirt even 
around the bottom and remove the dress; baste the belt where it has 
been pinned and stitch it in place. (This is a different method than 
the one given for joining the house dress.) 

FINISHING THE BOTTOM. 

After the skirt has been evened at the bottom, baste it along the 
bottom as indicated by the pins; even the hem, using as a guide a 
strip of cardboard cut the desired length; pin, baste, turn in the raw 
edge and stitch the hem in place, laying in the extra fullness in 
small pleats. 

FASTENINGS. 

A dress of this kind may be fastened with buttons and button- 
holes, with snaps or hooks and eyes. (Do not use snaps on the belt.) 

TRIMMING. 

A school dress may be trimmed very appropriately with bias 
folds of contrasting material, with pipings, or with buttons. Lace 
should not be used. 



265 



WOOL DRESS 

MATERIALS. 

Serge (Chap. I, Par. 62) or 
Panama (Chap. I, Par. 61). 

Amount of material called 
for in commercial pattern. 

Trimmings appropriate for 
design selected. 

Belting, 2" longer than 
waist measure. 

Hooks and eyes, and snaps. 

Silk thread to match ma- 
terial for stitching. 

Cotton thread for basting. 

Braid (mercerized) for skirt 
binding. 



INTRODUCTORY STATEMENT. 

While many women and girls prefer to wear a separate blouse 
with a tailored skirt in the winter time, most of them feel the need 
of at least one wool dress. Most of the principles that apply to the 
making of a cotton dress can be used in making a wool dress, but 
as there are some things that must be emphasized in making up wool 
materials which do not require consideration with cotton materials, 
it is well worth while to study this lesson on the making of a wool 
dress in order to bring out some of these points. The kind of ma- 
terial used in making the dress, as well as the style in which it is to be 
made, will depend on the kind of service it is to give. Care should be 
taken to see that the color selected is becoming and that the style 
planned is suitable for the figure of the one who is to wear it. If 
thoughtful consideration is given on these points, much greater satis- 
faction will be found in the completed garment. 

The woolen materials for winter are usually dark in color and 
for that reason are less likely to be becoming to the average com- 
plexion; this makes it necessary to exercise some care in the selection'. 
The above dress is made of dark blue wool serge trimmed with white 
silk braid and a white collar. The white against the face with the 
blue background makes it exceedingly becoming to a girl with dark 
eyes and black hair. 




References: 

Color Harmony in Dress, George Ashdown. 
Wool, Journal of Education, Vol. XLV. 



McBride, Nast Co., N. Y, 



266 

WORKING DIRECTIONS FOR WOOL DRESS 
PREPARING MATERIAL. 

Many of the better grades of wool material are sponged and 
pressed so they will not spot when wet. This is usually indicated on 
the selvage. It is advisable to look on the selvage to see that this 
has been done; if it has not, sponge and press the material yourself, 
as directed in Chap. Ill; or you may have it done at a dry goods 
store or a tailor shop. Unless this is done, shiny finished materials 
like broadcloth are very likely to spot when pressing the scams in 
making, and afterwards if a drop of water falls on them. 

GUTTING OUT THE GARMENT. 

A commercial pattern should be used unless the dress is made 
in a very simple style, when the drafted pattern may be used. If a 
commercial pattern is used, carefully study the guide chart and 
directions which accompany it. 

FITTING THE GARMENT. 

After the garment has been cut out, baste it together and lit it 
according to suggestions in Chap. IV, 

JOINING AND FINISHING THE SEAMS. 

The kind of seams used in joining a wool dress will depend 
considerably on the style of the garment. If a tailored effect is de- 
sired, lapped or stitched felled seams should be used. In a garment 
where the seams should be inconspicuous, as in a circular or gath- 
ered skirt, use the overcast seams or finish them with binding ribbon 
or bias tape on the wrong side. 

To finish a seam with binding ribbon, press it open by dampen- 
ing it on the wrong side with a wet cloth and pressing it with a 
warm iron. Fold the binding ribbon together, allowing one edge 
to extend beyond the other about Vg". Press it with an iron. Place 
the binding ribbon over the edge of the seam with the wider part 
on the under side of the seam. Sew both edges of the ribbon in place 
at the same time with running stitches. 

To finish a seam with commercial tai)e, press open the seam of 
the skirt as directed above. Crease the ta])e in the center with the 
iron. Baste one edge of the tape to the under side of the seam with 
small stitches, so the center crease will lie over the edge of the seam. 
Raste the opposite edge of the bias lape to the ui)per side of the seam 



267 

and stitch it on the machine. (With practice the second basting will 
be unnecessary). 

Seams that are not pressed open should be overcast together. 

Seams of felted materials like broadcloth which do not ravel, 
may be notched with the scissors. 

JOINING WAIST AND SKIRT. 

After the waist is completed, except at the waist line, and the 
skirt is finished, except making it even at the bottom, the two may 
be joined. 

If the dress is long waisted, like the one shown in the illustra- 
tion, the bottom of the waist may be turned under, basted over the 
top of the skirt and stitched flat. 

If there is to be' a girdle on the dress, join the waist and skirt 
in this manner: Fit the belting to the waist, turn back and stitch 
the ends and sew on as many strong hooks and eyes as are necessary 
to keep it from gaping (use the round eyes and let the eyes extend 
over the edge of the belt, as directed in Chap. II, Par. 183). Hook 
the belt around the waist, put on the waist, adjust the gathers at the 
waist line and pin the bottom of the waist to the top of the belting. 
Put on the skirt and pin the top of it to the lower edge of the belting. 
Remove the dress, baste and stitch the waist and skirt to the belting; 
cover the raw edges by hemming a strip of material over them. 

NOTE: When the skirt and the waist do not open at the same 
place, have the belting open with the one where it seems most con- 
venient. If part of the waist, or part of the skirt cannot be fastened 
to the belting, it should be faced or finished with a band, and held 
in its proper place with hooks and eyes, or snaps. 

The girdle may be made separate or it maj^ be fastened to the 
dress. If it is fastened to the dress, it is not necessary to cover the 
raw edges of the waist and skirt on the belting with the strip of 
material suggested above. If the dress is to be finished without a 
girdle, hook the belting around the waist, adjust the fullness at the 
waist line of the waist and pin it to the top of the belting; cut off the 
extra material. Pin the skirt to the bottom of the belting in a few 
places, turn in the top edge, place it over the gathers in the waist 
and pin it in place with the edge a trifle above the top edge of the 
belting. Remove the dress, baste and stitch the top of the skirt to the 
waist and belting. 

THE FASTENINGS. 

The wool dress is usually fastened with hooks and eyes, or 
snaps. (Remember snaps should never be placed where there is 
much strain on them as they will pull apart). 



268 

TRIMMINGS. 

Silk braid is a trimming which is often used on wool dresses. 
It may be basted in place and stitched on the edges with the sewing 
machine. Soutache braid may be sewed on in the same way witii 
one row of stitching in the center. 

FINISHING THE BOTTOM OF THE SKIRT. 

After the skirt is evened at the bottom, baste the bottom of the 
hem as marked; trim the hem off even and sew bias tape on the 
top of it, as in binding seams. The fullness in the top of the hem 
may be removed by holding the tape tight as you sew. Press the top 
of the hem using a damp cloth (press it until it is dry); baste and 
stitch in place. 

Broadcloth and similar felted material may be notched at the 
top of the hem, then the hem may be stitched in place. The hems of 
light weight materials that ravel easily may be finished by turning in 
the raw edges, pleating in the extra fullness, basting, and stitching 
them in place. 




269 




SILK DRESS 

MATERIALS. 

Foulard (Chap. I, Par. 74), or 
Taffeta (Chap. I, Par. 78). 

Amount of material called for 
in commercial pattern. 

Belting 2' longer than waist 
measure. 

Silk thread to match material. 

Trimmings suitable for this 
style of dress. 



INTRODUCrORY STATEMENT. 

Of all the fabrics, silk is considered the most beautiful. As it 
is more or less expensive and will not stand the hard service to which 
every day garments are subjected, it is usually reserved for the 
making of gowns which are to be worn on special occasions. 

Silks are frequently made up in very simple styles which are 
suitable for street wear. The darker shades of foulards, tatletas, 
crepe de Chines, moires or messalines are all suitable for this purpose. 
When silk materials are combined with fancy trimmings they are 
suitable for afternoon or evening wear. The delicate colored silks 
should be used for party dresses. 

A silk dress made after the fashion of the dress shown in the 
illustration is suitable for street wear or semi-dressy occasions. 

The style of a dress of this sort varies considerably from season 
to season; it is therefore necessary to use judgment in adapting the 
changing styles to your personal needs. 



References : 

Silk, Journal of Education, Vol. XLV. 
SilU Industry in America, L. P. Brockett. 



270 
WORKING DIRECTIONS FOR SILK DRESS 

SELECTION OF MATERIAL. 

Until you have had a great deal of experience in sewing, it will 
be wise for you to select silk materials with enough body to keep 
them from pulling and slipping when you are w^orking with them. 
Materials like foulard or tafTeta will be most suitable. Materials like 
crepe de Chine are very difficult to work with and should not be 
used until you have become skillful in dressmaking. 

THE PATTERN. 

The design shown in this lesson offers a good way to make over 
last year's dress by the combination of two materials. For your 
dress, it will be well to select a simple design in which you can 
give beauty to the garment by the perfection of your work. Use a 
commercial pattern. 

CUTTING OUT THE DRESS. 

Study carefully the guide chart and the directions accompanying 
the pattern; pin the pattern to the material carefully and use very 
sharp shears to cut out the garment. (Dull shears will pull the silk; 
if you have this difficulty, put a piece of newspaper under the silk 
and cut it with the silk.) 

LININGS. 

While fitted linings are not used as commonly as they previously 
were, semi-fitted linings are often used in the waists of silk dresses. 
Net, china silk and seco silk (a thin, mercerized cotton material) are 
most generally used for this purpose. 

THE SEAMS. 

A lined waist should be sewed together with plain seams. The 
lining should be sewed up separately from the waist and the seams 
turned inside so it will not be necessary to finish either the seams 
of the waist or the lining. For unlined silk waists, overcast or 
French seams may be used. 

For gathered skirts, French seams are generally used. Where 
a more tailored effect is desired, plain seams may be stitched about 
l^" from the seam on the right side. Soft materials are often stitched 
over tissue paper, or newspaper, to keep the stitching from drawing 
or fulling the silk. You should see that the point of the machine 
needle is sharp, as a blunt needle will pull the threads of silk. 



271 

Machine hemstitching is often used to join seams in the waist, 
excepting the under-ami seams. If you wish to send this work to a 
professional, baste all the seams before sending the garment to be 
hemstitched. 

FITTING. 

After the seams are basted, try on the dress and fit it, following 
the suggestions for fitting in Chap. IV. (Be very careful that the 
dress is fitted so there is no strain on the silk in any part; be especi- 
ally careful about the sleeves at the elbows and the skirt at the hips.) 

SETTING IN THE SLEEVES. 

The sleeves should be finished before they are stitched in. They 
may be set in the armhole with a plain overcast seam; they may be 
set in with hemstitching as suggested in a previous paragraph, or 
the armholes may be finished with cable cord. To do this, cut bias 
strips about %" wide, lay the cable cord (the size desired) on the 
wrong side of the strip. Sew the cable cord in with running stitches. 
Turn in the edge of the armhole and baste in the bias strip, letting 
the covered cable cord extend just beyond the edge of the armhole. 
Lay the top of the sleeve in as if you were going to make a lapped 
seam. Baste it in place; stitch, using a presser foot especially de- 
signed for this work (if your machine has this presser foot). 

THE NECK. 

If the dress is made with a fitted collar, pin on the collar before 
trimming out the neck. If a yoke, or guimpe, is used with the dress, 
join the collar to the neck by stitching it ilat on the yoke; trim the 
raw edge down to about ^A" and overhand over it, making a tiny 
rolled seam on the wrong side. 

Such a collar should be stayed to keep it up around the neck. 
Sew one collar stay about IV^" each side of the center front of the 
collar allowing it to slant back slightly at the top; sew another one 
on each side, even with the shoulder seam, and one on the under 
side of the back opening. 

PLACKETS. 

Where the opening comes under a pleat in the skirt, use a faced 
placket (Chap. II, Par. 163). Use a bound placket (Chap. II, Par. Kil ) 
in a full skirt. 

JOINING WAIST AND SKIRT. 

The dress in this lesson may be joined with a band of the ma- 
terial. The belt should be cut long enough to extend around the 



272 

waist and allow for the extra length necessary to open the skirt on 
the side. Take a piece of soft belting, the width desired for the band, 
fit it to the waist, turn back the ends and sew on hooks and eyes (use 
the round eyes and let them extend over the end of the belting, as 
shown in Chap, II, Par. 133). Hook the belt around the waist, letting 
it open at the center front; put on the waist, pin it to the top of the 
belting, trim away the extra material; put on the skirt and pin it to 
the lower edge of the belt, leaving loose the edge which must ex- 
tend beyond the center front; turn in the edges of the material cut 
for the outside belt, line the end which is to be fastened to the loose 
edge of the skirt. Pin it in place over the skirt and waist, even the 
skirt at the bottom; remove the dress, baste the belt where it has 
been pinned and stitch it. Make the wide silk belt shown in this 
lesson separate and sew it over the other by hand. 

FASTENINGS. 

The placket and other openings in the dress may be held together 
with hooks and eyes and snaps. (Remember that snaps should not 
be placed on the belt, or any place where there is a strain that will 
pull them apart.) 

FINISHING BOTTOM. 

After the skirt is evened at the bottom, turn up the hem, baste it 
around the bottom edge, even it to the width desired (about 3" to 5") ; 
turn in the raw edge, pin and baste in place, gathering in the extra 
fullness or removing it with tiny pleats. Sew the hem in place by 
hand with hemming stitches. 




273 



LINGERIE 
DRESS 

MATERIALS. 

Organdie (Chap. I, Par. 29) 
or 

Lawn (Chap. I, Par. 23) or 
Handkerchief Linen (Chap. 
I, Par. 46). 

Amount of material called 
for in commercial pattern. 

Suitable trimming for style 
selected. 

Belting 2" longer than waist 
line. 

Thread No. 90. 



INTRODUCTORY STATEMENT. 

The long hot days of summer afford an opportunity for a girl to 
wear pretty lingerie dresses made of the exquisite organdies, Swisses, 
mulls, dimities, voiles, and lawns which are so universally becoming. 
If a girl is able to make her own dresses and has the time to do it, 
she can have a variety, for very pretty ones can be made with small 
cost if there are no dressmaker's bills to pay. 

The tall, slender girl may make an attractive appearance when 
thin summer dresses are in vogue, for the ruffles used so much in 
trimming them will appear to lessen her height and thus give her a 
better proportioned figure. The girl who is inclined to be short and 
stout should select materials with stripes and make them up length- 
wise (up and down), avoiding ruffles or trimming with stripes run- 
ning around. She should also avoid any sort of striking girdle. 

The dress in this lesson is planned to bring in as many as possible 
of the special features necessary in the making of any lace trimmed, 
thin dress. Notice that this dress is designed for a tall, slender girl. 




References: 

Beauty in Dress, Oakey. 

Lessons in Garment Drafting, Gingles. Seeniann & Peters, S;i.nina\v, 



274 

WORKING DIRECTIONS FOR LINGERIE DRESS 
PREPARING MATERIAL. 

Many people object to shrinking fine organdie, because it takes 
off a little of the new look. If you do not shrink it, you should make 
allowance for lengthening the skirt and waist after the dress is 
laundered. 

SELECTING THE PATTERN. 

Before making a dress similar to the one shown in this lesson, 
you should have had considerable experience in making plainer 
dresses; if you have not, select a less elaborate style for your dress. 
Use a commercial pattern. 

CUTTING OUT THE DRESS. 

Study carefully the guide chart and directions accompanying the 
pattern; cut out the dress according to directions. NOTE: In making 
this dress you should be very careful to keep the table and machine 
carefully dusted so you will not have to launder the dress as soon as 
it is finished. Wear a white apron and keep your hands scrupulously 
clean. 

THE SEAMS. 

The parts of the w^aist in a dress of this character should be 

joined with very tiny French seams. As the skirts are usually 

gathered, or pleated, they also should be joined with tiny French 

seams. 

TO SET IN LACE INSERTION. 

Lace insertion in a waist similar to the one in the lesson should 
be set in before the seams are joined. To do this, baste the lace 
insertion on the waist in the desired position, mitering the corners 
where necessary. Stitch it on both edges. Cut out the material 
under the insertion leaving about i/4" of the cloth extending under 
the insertion; fold this back and stitch it in place, or after it is folded 
back, sew it into a tiny roll with tightly drawn overcasting stitches. 
Buttonhole the mitered corners. 

Handmade lace should be sewed in place by hand with fine 
running stitches and the under side finished as suggested above. 

TUCKS. 

The tucks used on a dress of this character should be very dainty; 
they are usually called pin tucks; the finer they ai'e made the prettier 
the appearance. They may be made with the tucker on the sewing 
machine. Before trying to use the tucker, study the directions given 



275 

in the book which accompanies the sewing machine and practice 
making the tucks on a small piece of cloth. 

Tucks which end in the body of the material will have loose ends 
of thread. These threads should be drawn through to the wTong side 
and tied in a hard knot; the extra thread may be cut ofT. 

Tucks in the cufT or sleeve are usually made before joining tne 
seams. Care should be taken to have them evenly spaced and even 
in width where they are to be joined. The tucks in the ruffle of the 
skirt are usually put in after the ruffle is joined. 

Tucks are sometimes made by hand with fine running stitches. 
They look attractive, but it requires a long time to make them. 

FITTING THE DRESS. 

After the seams are basted, the garment should be tried on and 
fitted according to directions in Chap. IV. 

SLEEVES. 

Set-in sleeves may be sewed into the armhole with plain over- 
cast or French seams. Machine hemstitching is a very dainty way 
to set them in; seam beading gives much the same appearance as the 
hemstitching. Set it in with tiny French seams, or plain overcast 
seams. 

JOINING THE WAIST AND SKIRT. 

As this style of dress is usually finished at the waist line with a 
girdle of ribbon or silk, it may be joined in the following manner: 
Fit the belting to the waist, turn back and stitch the ends and sew on 
as many hooks and eyes as necessary to keep it from gaping (use 
the round eyes and let the eyes extend over the end of the belt, as 
directed in Chap. II, Par. 133.) Hook the belt around the waist, put 
on the waist, adjust the gathers at the waist line, and pin it to the 
top of the belting. Put on the skirt and pin the top of it to the lower 
edge of the belting. Remove the dress, baste and stitch the waist and 
skirt to the belting; cover the raw edges by hemming a strip of 
material over them. 

NOTE: When the skirt and the waist do not open at the same 
place, have the belt open with the one most convenient. If part of 
the waist, or part of the skirt cannot be fastened to the belting, it 
should be faced or finished with a separate band, and held in its 
proper place with hooks and eyes, or snaps. 

The girdle may be made separate, or may be fastened to the 
dress. If it is fastened to the dress it is not necessary to cover the 
raw edges of the waist and skirt on the belting with the strip of 



27() 

material suggested above. If the dress is to be finished witliout a 
girdle, hook the belting around the waist, adjust the fullness at the 
waist line and pin it to the top of the belting; cut off the extra 
material. Pin the skirt to the bottom of the belting in a few places, 
turn in the top edge, place it over the gathers in the waist and pin 
it in place with the edge a trifle above the top edge of the belting. 
Remove the dress, baste and stitch in place. 

BOTTOM OF THE SKIRT. 

When the bottom of the skirt is to be finished with a ruffle, even 
the skirt around the bottom the distance from the floor necessary to 
make it the right length when the ruffle is sewed on. If more than 
one ruffle is to be placed on the skirt, sew on the bottom ruffle with 
a felled seam; lay the skirt on an ironing board or table and pin the 
second rufTle so the bottom edge will overlap the top and will be par- 
allel with the bottom of the first ruffle. Continue in this manner until 
all the ruffles are sewed on. If the top of the upper ruffle is not 
concealed at the waist line, the raw edges should be turned in and 
the edge finished with a. small heading, which may be used as a 
finish for the top of the rufTle when it is sewed on the skirt. 

The lace on the edge of the ruft'les should be sewed on by hand, 
but it may be stitched flat on the edge with the machine. The lace 
trimming on the waist should be sewed on by hand. 

FASTENINGS. 

A lingerie dress may be fastened together with tiny buttons and 
buttonholes, or small snaps with hooks and eyes at the belt. 

THE GIRDLE. 

As each season brings its new fads for girdles and sashes, no 
attempt is made here to give directions for making a girdle. Patterns 
may be obtained with directions for making. One girdle or sash 
may be used for several dresses. 



277 




GYMNASIUM 
SUIT 

MATERIALS. 

Serge (Chap. I, Par. 62) or 
Flannel (Chap. I, Par. 59) 
or 

Sateen (Chap. I, Par. 32). 

Amount of material called 
for in commercial pattern. 

Thread to match material. 
Fastenings. 



INTRODUCTORY STATExMENT. 

In order to get the full benefit of the physical training given in 
the gymnasium, it is necessary to be dressed so that every part of 
the body may have perfect ease and freedom of motion. The gym- 
nasium suit of some sort, with its short skirt or bloomers, is de- 
signed to fill this need. 

Bloomers are often vs'orn with a cotton middy, but a suit made 
in one piece is very desirable. 

Woolen material is generally used for gymnasium suits, although 
sateen, silk and brilliantine are also satisfactory. The woolen ma- 
terial is particularly desirable because it is a poor conductor of 
heat and for this reason one is less likely to take cold after violent 
exercise because it does not allow the body to cool too rapidly. 

The gymnasium suit shown in this lesson consists of a waist 
and bloomers joined at the waist line with a band, thus forming one 
continuous garment. 



References : 

Hygiene of Clothing, The Care of the Body, Cavanagh. 
Personal Hygiene, Pyle. 



278 

WORKING DIRECTIONS FOR GYMNASIUM SUIT 

THE PATTERN. 

If desired, a commercial pattern may be used to make a gym- 
nasium suit. A middy blouse may be substituted for the waist which 
is joined to the bloomers. If this is done, the bloomers should be 
joined to a band. 

With careful planning on your part, the waist of the gymnasium 
suit shown in the illustration may be cut from a plain shirt waist 
pattern; the bloomers may be cut from a drawer pattern by allowing 
extra length and fullness. The back of the waist may be cut like 
the shirt waist pattern, with a square neck; the front, you will notice, 
has a square neck and is opened by unbuttoning the gathered piece 
which is fastened in a band and buttoned to the side fronts of the 
waist. To cut the front from a waist pattern, cut the neck square 
and add about 3" to the front of the pattern for fullness; the sleeves 
are cut short and made full at the top. 

CUTTING OUT THE SUIT. 

If a commercial pattern is used, study carefully the guide chart 
and directions which accompany it. Cut out your suit according to 
the directions. 

If you wish to make a suit like the one shown in the illustration, 
by using a shirt waist pattern, cut the back piece with the center back 
of the pattern on the fold and the front piece the same allowing the 
folded edge to extend about 3" beyond the front edge of the pattern. 

To make the flap which is gathered into the band in the front of 
the waist, cut down from the neck on each side of the waist to 
within about 2" of the waist line. If the drawer pattern is used for 
the bloomers, lay pleats in the material the length desired for the 
bloomers and cut them out; allow several inches on the folded edge 
of each leg for gathered fullness, making them enough longer than 
the pattern to allow them to come well below the knees. 

THE SEAMS. 

As a suit of this sort is subjected to considerable strain, it 
should be joined with strong seams. The French seams, or felled 
seams, are suitable for this purpose. 

FITTING. 

After the seams are basted, try on the garment and fit it very 
loosely. As it is very essential for the body to move freely in every 



279 

(lireclion in athletic work, the garment worn in a gymnasium should 
he very easy fitting in every part. After the garment is fitted, re- 
move it and finish tlie seams. 

FINISHING THE NECK AND FRONT. 

If you wish to finish the neck in your gj'^mnasium suit like the 
one shown in the illustration, cut a piece of material ahout V/2" 
wide to fit the neck and extend down the front of the waist. Finish 
the raw edge around this strip with a bound placket on each side 
(Cliap. II, Par. 161). Cut a band about 2I/2" wide, and long enough 
(plus seams) to fit across the opening at the neck; turn in the ends, 
gather the material on the loose front piece into this band, baste and 
stitch the gathers in place in the band (Chap. II, Par. 142). 

THE SLEEVES. 

Make a band 4" wide for each sleeve. Join the ends of each 
band with plain seams. Join the sleeves with French seams and 
gather the bottom of each sleeve into the band (Chap. II, Par. 142); 
when the band is completed it should be double. 

The sleeves shown in the illustration are gathered at the top. 
The following is a good method to use when setting in this style of 
sleeve: Fold the armholes of the waist so the under-arm seam and 
the shoulder seam lie together. Crease the fold formed on the front 
and back of the waist. Place the seam of the sleeve about 2^4" to 
2V2" in front of the under-arm seam. Pin the lower edge of the 
under part of the sleeve to the armhole from the crease in the front 
of the armhole to the crease in the back. Gather the remainder of 
the sleeve and adjust it to the upper part of the armhole, allowing 
the greatest fullness to come at the top of the shoulder. Baste and 
stitch in place. Overcast or bind the seams on the wrong side. 

If you make plain sleeves, they may be set in with lapped seams. 

THE BLOOMERS. 

The bloomers should be gathered or pleated at the top to fit a 
band which is to join the garments at the waist line (this band should 
be loose). Finish the bottom of the bloomers with a '2" hem; gather 
in the fullness in each leg with an elastic band tight enough to keep 
the leg from slipping. 

JOINING THE WAIST AND BLOOMERS. 

.loin the waist and bloomers in the following manner: (Ait two 
strips each 2^" wide and as long as a loose waist measure; put on 



280 

the waist which should be gathered at the waist line; adjust the 
gathers in the waist; trim off extra material below waist and put on 
the bloomers. With both edges of the band turned under, pin the lower 
edge to the bloomers and the upper edge to the waist. Remove the suit, 
cut away the extra material under the band, allowing the bottom of 
the waist to extend about % " below the top edge of the band; baste 
in place; line the band on the wrong side by pinning and basting a 
strip the same width as the band over the raw edge; stitch it in place. 
After the suit is joined at the waist line an extra strip the same 
width as the band and 9 " long, may be cut double. The edges of this 
should be turned in and it may be stitched to the front of the band 
(as in the illustration) for trimming. A button is placed at each end. 

FASTENINGS. 

The gymnasium suit in this lesson is fastened with buttons and 
buttonholes and snaps. 

POCKET. 

The pocket is sewed to the front of the waist on the left-hand 
side. Two rows of parallel stitching serve as trimming and also hold 
it firmly in place. 




281 




COAT 

MATERIALS. 
Wool (Chap. I, Par. 50). 

Amount of novelty coat 
cloth called for in the 
commercial pattern. 

Binding ribbon. 

Silk thread to match ma- 
terial. 

Buttons (large). 



INTRODUCTORY STATEiMENT. 

In summer or winter some kind of outside wrap is necessary. 
A suit coat, as a rule, does not look well with a dress of different 
color or material, so the separate coat is almost a necessity. As it 
is worn over a dress it is made comparatively loose. The materials 
and styles used in making the coat seem better suited to the ability 
of the inexperienced seamstress than those used for a suit. For this 
reason a girl who might find a coat suit too great an undertaking 
may be able to make a very attractive looking coat. 

In making the coat a very simple style should be selected. The 
rough finished or wooly materials which are heavy enough so as 
not to require a lining will be found most satisfactory for this coat. 

The coat in this lesson is an easy coat model for a girl to make, 
but any similar model can be made as satisfactorily, if sufficient care 
is taken with every step. 



References: 



The .American System of Dressmaking, Kansas City, .Mo. 
Practical Dressmaking. Macmillan Co. 



282 

WORKING DIRECTIONS FOR COAT 

THE PATTERN. 

Tailoring is considered one of the most difficult branches of 
garment making. Light weight materials which require interlinings, 
padding, and linings call for skill which the young seamstress, as a 
rule, has not acquired. For this reason, in making an outside gar- 
ment you should select material which will not require lining. A 
loose fitting, unlined coat may be made very satisfactorily. Use a 
commercial pattern, but be careful to select a simple style. 

CUTTING OUT THE GARMENT. 

Study the guide chart and directions accompanying the pattern 
and follow the directions in cutting out the coat. Notice whether 
the nap of the goods lies in one direction; if it does, be careful to 
have the nap running down on all the parts of the coat. Great care 
will be necessary in cutting out this garment as it is rather dilficult 
to cut straight even edges on heavy material. 

SEAMS. 

If the material does not show a tendency to ravel, the coat may 
be finished with felled seams finished on the right side without 
turning in the raw edges of the material. If the material ravels, turn 
the seams toward the wrong side and bind the raw edges with binding 
ribbon; then stitch them in place (the seams should be about %" 
wide.) 

To bind the seams. Fold the binding ribbon so one edge extends 
a little beyond the other. Crease it with a warm iron. Lay the wider 
part of the binding ribbon on the under side of the seam and with 
the crease lying over the edge of the seam, sew through the two 
edges of the binding ribbon at the same time, with running stitches. 

FITTING THE COAT. 

Baste the body of the coat together at the shoulders and under 
arms, then baste in one sleeve. Try on the coat and fit it according 
to general direclions for fitting a waist (Chap. IV). Remember that 
a coat is an outside garment and should be fitted over the dress, or 
waist, and should be made very loose. If the sleeve is not set in 
so the l()|) part hangs straight from the shoulder to the back of the 
hand, readjust it so it will. 



283 

THE COLLAR AND FRONT FACING. 

The collar is one of tlie most diflicull parts lo make suecesstully. 
Baste the under side of the colhir to the neck of the coat, beinj^ 
careful not to stretch it. This coat, like most other unlined coats, 
is finished with a facing on the front edges. This must he joined 
lo the collar. To do this, lay the right side of the facing on the 
right side of the coat; baste it on the bottom edge and front of tiie 
coat and to the edge of the upper side of the collar then stitch it as 
basted. Turn the facing and the collar to the wrong side; haste it 
along the edge, being very careful to make a straight seam down 
the front; baste it in place along the center and the outside edge (the 
raw edge should be bound with binding ribbon, as suggested for the 
under-arm seams). The raw edges of the collar should be turned in 
and hemmed in place. Sew the facing to the coat with long hemming 
stitches, invisible on both sides of the coat. 

THE SLEEVES. 

The sleeves should be joined the same as the under-arm seam; 
the sleeves may be sewed into the armhole with the same kind of 
seam used on the shoulder and under the arm. After they are set in, 
bind the raw edges at the bollom and turn back a hem to the wrong 
side. Stitch the hem Vo" from the bottom of the sleeve. 

THE BOTTOM OF THE COAT. 

The bottom of the coat should be finished with a hem about V2" 
wide, stitched in place. This stitching should be continued around 
the edges of the front of the coat and collar. 

THE POCKET. 

A pocket may be stitched on the left side of the coal, or if desired, 
a pocket may be provided on each side. It should be made the 
same size as directed in your pattern. The pockets in the coat shown 
in this lesson were stitched close to the edge; these edges were left 
unfinished. A second row of stitching V2" inside of the first row was 
added lo correspond with the stitching on the collar and the front 
of the coat. 

FASTENINGS. 

The buttonholes in a coat of this kind aie dillic-ull lo make. 
They should be worked with buttonhole twist. Vou should not try 



284 

to make the buttonholes in your coat until you have succeeded in 
working two or three excellent ones in a scrap piece of your ma- 
terial (doubled). If desired, you may have a tailor make the button- 
holes. Sew on buttons to correspond with the buttonholes; be very 
careful to have them exactly even with the buttonholes so the ma- 
terial will not wrinkle between them. 




285 

REVIEW QUESTIONS AND PROBLEMS. 

1. Do you consider the study of dress an important subject? 
Why? 

2. What is meant by a garment being in style? How much 
attention do you think should be given to style when planning your 
clothes? 

3. What is the purpose of trimming on a garment? 

4. What do you understand by a certain idea or design of dress 
being appropriate? 

5. What sort of trimming would be appropriate for a middy 
blouse? For a lingerie dress? 

6. Why are commercial patterns considered more practicable 
than drafted ones for ordinary home sewing? 

7. W^hat measurements should be taken before undertaking to 
draft a waist pattern? 

8. What do you understand by a "foundation" waist pattern? 
Why is it worth while for every girl to become familiar with the 
method of making such a pattern? 

10. What points must be carefully considered in altering any 
pattern? Explain. 

11. The ability to alter and adapt patterns to individual needs 
is the real test of ones understanding of the principles of pattern 
making. Discuss this statement. 

12. What determines the width at the bottom, the number of 
gores and the style of trimming of a skirt? 

13. Name and describe three or four kinds of material suitable 
for house dresses. 

14. Describe the points of a properly designed and well made 
school dress. 

15. What things must be considered in making a wool dress, that 
would not occur in making a house dress? 

16. Design a silk dress. Draw a sketch showing how it will 
appear when completed. 

17. For what occasions is the lingerie dress appropriate? 

18. What points should be considered in designing and making 
a gymnasium suit? 

19. W^hat kind of materials are suitable for a coat? 

20. Write a review of three or four hundred words explaining 
just how you can apply at home the things learned in your school 
sewing work. 



286 

SUGGESTIONS FOR HOME APPLICATION. 

After having completed the work in Section V of this book you should 
be able to do a large part of your plain sewing. With the work given 
in dressmaking in Section VI you should be in a position to make 
even your more elaborate gowns. When you are capable of making 
such garments it is very important that you should also be able to use 
good judgment in selecting appropriate materials and styles for them. 
A few suggestions are offered to aid you in applying to the problems 
of dress at home the things which you have learned in your school 
sewing. 

THE CLOTHING BUDGET. 

One of the first problems to consider in planning ones wardrobe 
is the amount of money that can be spent on it. Whether you have a 
liberal allowance, or whether you must practice strict economy, you will 
be able to spend your money much more profitably if you use thought 
and care in planning your clothes for each season. A very excellent plan 
to follow is the keeping of an accurate account of the expense of your 
clothing. This will enable you to know just the amount you are 
spending for your clothes and will enable you to see whether you 
arc spending money without getting the best returns for it. As some 
garments can be made over, or made to do service for two or three 
years, you should keep an itemized account of your expenses for 
clothing for three years and take the average expenses for the three 
years as the average cost for each year's clothing. In this manner 
you will be able to see whether too large a proportion of the money 
spent is being used for articles like fancy neckwear or other fads 
and luxuries of dress; you may wish to reduce the number of some 
of these items so that you may ha^e more money to spend for your 
street clothes, or other garments which will give you a better appear- 
ance with the same expenditure of money. 

SOME ECONOMIES IN DRESS. 

One very good way of economizing on the cost of dress and still 
presenting a good appearance is to select a becoming color and use 
Ihat as Ihe keynote of your dresses, suits and hats from year to year. 
By using this method very often a well preserved hat left from the 
previous season may be relrinnned at small exj)ense and used with 
the new suit or dress; left-over blouses may also be worn with the 
new suit instead of being discarded because they do not match in 
color. Where slricl economy must be observed in planning the ward- 



287 

robe, one well made dress of good material may be made lo serve tor 
ditTerent occasions by using ditlerent styles of neckwear. It is said 
of a very prominent Englisb woman that she used one black dress to 
do service on all occasions through an entire social season in London, 
simply changing the neckM-ear on different occasions. 

Unless you have an unlimited income, extremes of fashion should 
be avoided, as they necessitate an endless renewing of the wardrobe. 
This makes it necessary to buy cheaper materials, which soon show 
their shoddiness. Clothing which is more conservative in style and 
made of better fabrics will attract less attention to itself, and will 
thus allow the personality of the wearer to predominate. A girl's 
clothes should emphasize her personality instead of crowding it into 
insignificance. 

If you have the time to make your own clothes, this will be a 
very important item in economy, as this makes it possible not only 
to save the dressmakers' bills, but to make over garments from a 
previous season. If you do not have time to do this, many articles 
may be purchased ready made. Although the materials used in ready 
made garments are often inferior to those used in making garments 
at home, yet many ready made garments, which give very good satis- 
faction, may be purchased. 

A great deal of valuable time and money is often wasted in pur- 
poseless shopping. It is a wise plan to know what you want to pur- 
chase, about what you can afTord to pay, the quantity needed and the 
purpose for which the material is to be utilized. 

At between seasons sales considerable money may be saved if 
purchases are made thoughtfully. It is poor economy, however, to 
buy articles simply because they are good value, or because you hope 
to use them at some future time. 



SIMPLICITY OF DRESS. 

The keynote of a young girl's dress should be simplicity, as the 
charm and freshness of youth does not need elaborate clothes to en- 
hance it. Any kind of clothing which takes away from a girl's youth- 
ful appearance also takes away some of her attractiveness and shows 
lack of good taste. Some things that a girl in school should avoid 
are extremely low cut necks in dresses or waists, silk stockings and 
low shoes in cold weather, too striking combinations of color, huge 
hair ribbons, or fancy shirt waists. 



288 

APPROPRIATENESS. 

A dress that would be very pretty at a party would look out of 
place in the school room because of its inappropriateness. Proper 
clothes should be worn on the proper occasion. Lace trimmed gowns 
made of perishable material are not suitable for school wear. Fabrics 
which will wear well and launder nicely should be selected for wash 
dresses and waists for school wear; serviceable materials, like serge 
or panama should be selected for woolen dresses. 

It is not sutTicient to use good taste in selection of materials and 
in the styles of making them up, but care should be taken to keep the 
clothes in good repair and to see that collars and cuffs are kept clean. 
In other words, if you would be refined you must show by careful 
attention to the small details of your dress that you are perfectly and 
always a lady. 




289 



SUPPLEMENT 



290 
CHAPTER I 

TEXTILES 

To get a perfectly clear understanding of the various textiles 
it would be necessary to study the history of race development, in 
order to become acquainted with the different kinds of materials 
which have been used for clothing from the early savage periods to 
the modern day. Mankind has always relied upon the animal and 
vegetable kingdom for his existence; this is particularly true in the 
matter of food and clothing. 

Before the days of civilization, savages clothed themselves with 
the untanned hides of animals decorated with shells, stones and 
beads. These hides of animals were very satisfactory protection 
against the elements, and were sufficiently beautiful to meet every 
requirement of savage taste. With the improvement of the race a 
desire for more artistic clothing arose, and mankind continued to 
look to his surroundings to supply the needed materials. 

It would be impossible to trace the various stages of develop- 
ment which led up to the intricate system of manufacturing now 
employed in producing wearing apparel, but as man began to acquire 
some ingenuity and skill, he devised methods of making crude cloth- 
ing from different fibers. These arts have been improved from time 
to time, and while a few new sources have been employed in the 
production of textiles, yet, for the most part, our clothing still comes 
either from the animal or the vegetable kingdom. 

The art of spinning dates back to the very earliest periods of 
history, in fact, a legend among ancient people traces this important 
art to the Goddesses themselves. When the art w^as first practiced 
by man he turned to the plant kingdom for fibers that would be suit- 
able to spin into yarn. He also employed fibers from the animal 
kingdom for a like purpose, but the spun thread did not meet all of 
his clothing requirements, so necessity lead the way for the introduc- 
tion of weaving. This art was also begun at a very early period, and 
so successfully have these twin arts developed, hand in hand, that 
they have formed the basis of modern textile manufacturing. 



291 

THE VEGETABLE FIBERS 

COTTON 

Paragraph 1. ^'ery important textile fibers come from the veget- 
able kingdom; while there are several that contribute slightly, cotton 
and flax are the only ones worthy of consideration from a practical 
standpoint. Cotton is by far the most important fiber from whic'i 
clothing is made. Just how long cotton has been used in the ])roauc- 
tion of clothing is not exactly known, although history records the 
use of cotton clothing as early as 445 B. C. The invention oJ the 
cotton gin and other modern machines has made pos*;;')'- i very 
wonderful development of the cotton industry 

In order that any fiber may be v.oven i:>;o .-,j:-^i citable textiles 
that fiber must be possessed of sufficient s'rength to be spun, and it 
must have a physical structure which will permit a number of fibers, 
when spun, to cling so securely as to produce a continuous thread of 
considerable tensile strength. /. :: tiie v.-:rieties of cotton have these 
requirements. 

Cotton fibers ccisist oi .^ced hairs; the cotton plant reaches ma- 
turity varying from three to si:^ feel in height and produces a cotton 
boll which contains the 'teds. This seed boll splits open and presents 
a white mass of seed hairs, each being attached at one end to a tiny 
seed. The seed is picked and run through a cotton gin for the purpose 
of separating the reed hairs from the seed. The seed is preserved for 
the oil which U possesses, while the fiber is taken through the various 
processes of producing cloth. 

When the cotton liber is dried it is perfectly smooth and each 
tiny fiber is ribbon shaped, but as it dries it twists in an irregular 
spiral or screw-like band, having from three to five hundred twists 
per inch. It is this peculiar twist that makes the cotton fiber valuable 
for textiles, for this is the property which makes it possible for 
cotton fibers to be woven into a strong thread. The other spinning 
qualities of cotton depend upon the length as well as the fineness of 
the fiber. Cotton produces a very strong thread but not as strong as 
silk, or even linen, although it has greater strength than the same 
sized thread made of wool. 

Cotton is used more than any other material because of its cheap- 
ness, and because it is so serviceable for a great number of practical 
purposes. It will stand rather high temperature, and is not harmed 
by strong alkali, soap and other cleaning materials; it can be bleached, 
scrubbed and cleaned in various ways without suffering damage. It 
wears well under hard use, and looks neat and clean when laundered. 



292 

Cotton takes dye readily, thus making it possible to produce 
pleasing color effects in various kinds of cotton cloth. It does not 
retain its color, however, as well as wool. 

In order to add to the appearance of cotton it is sometimes mer- 
cerized to produce a glossy silk-like finish. There are a number of 
ways in which this mercerizing process is carried out; the cloth is 
usually treated with a strong caustic alkali and then carefully dried, 
stretched and pressed. 

The following kinds of cotton cloth are in most common use. 

BATISTE. 

Paragraph 2. Batiste is a very light cotton fabric, woven of fine 
threads. It varies considerably in quality. There are some coarser 
forms that are used for linings while the finer forms are found in 
shirt waist and dress goods. It is made principally in white though 
sometimes in a few colors. Most common width 32" to 45". Price 
per yard from 15c up. 

BUCKRAM. 

Paragraph 3. Buckram is a very cheap cotton fabric not used 
much in the manufacture of clothing except for interlinings where 
some stiffness is required. It is very coarsely woven, usually in 
plain colors. Most common width 36". Usual price per yard, 10c up. 

BURLAP. 

Paragraph 4. Burlap is a very coarse cloth made of hemp or jute, 
though some of the finer varieties are made of cotton. The coarser 
kinds are used for wrappings, under portions of upholstery, or where 
great strength is required. The finer weaves are used for wall cover- 
ings, curtains and draperies. Most common width, 42" to 57". Usual 
price per yard, 35c to $1.00. 

CALICO. 

Paragraph 5. Calico is the most common of all the cotton fabrics. 
It was originally made in Calcutta, India, from which the name calico 
is derived. It is first woven plain, after which a color or print is 
stamped on one surface. This explains why the figure in calico is 
not found on both sides. It is used for house dresses and other gar- 
ments which call for inexpensive material. Most common width, 24" 
to 36". Usual price per yard, 5c up. 



293 

CAMBRIC. 

Paragraph 6. The name cambric was originally applied only to 
a very fine linen cloth. A fabric by this name is now made of cotton, 
however, though not so good in quality as that made of linen. It is 
a plain weave with very smooth surfaces. It is sometimes spoken of 
as cambric muslin. It is used for linings and underwear. Most 
common width, 36". Usual price per yard, 10c to 30c. 

CANTON FLANNEL. 

Paragraph 7. Canton flannel originated in Canton, China. It is 
a very common cotton fabric and may be easily recognized by the 
twilled surface on one side and the long smooth nap on the opposite 
side. It is a very strong material commonly used for children's under- 
wear and interlinings. Most common width 27 " to 30". Usual price 
per yard, 10c to 12c. 

CANVAS. 

Paragraph 8. Canvas is a strong coarsely w^oven cloth very 
similar to duck. It is used for tents, awnings and various coverings 
which must be exposed to weather. Art canvas is a name applied to 
many open, varied and ornamental weaves of canvas. It is not used 
to any extent in clothing, but is rather important in art needle-work. 
Most common width, 18" to 36'. Usual price per yard, 25c up. 

CHAMBRAY. 

Paragraph 9. Chambray is a very common cotton fabric, strong 
and serviceable and used for house dresses and other inexpensive 
purposes. It is generally found in plain colors with white selvages. 
This is caused by the fact that the warp threads are colored, while 
the woof threads are white. Most common width, 32"". Usual price 
per yard, 20c to 25c. 

CHEESE CLOTH. 

Paragraph 10. Cheese Cloth is a very cheap cotton fabric, de- 
riving its name from the purpose for which it was first used, to wrap 
cheese. It is not a very strong material, plain weave, very sheer. It 
was formerly made almost entirely in white, but now may be had in 
various colors. It is used frequently for cheap decorations. Most 
common width, 36". Usual price per yard, 5c to 10c. 

CORDUROY. 

Paragraph 11. Corduroy is a very strong cotton material recog- 
nized by its half-round ridges running lengthwise of the cloth. These 



294 

ridges or ribs resemble velvet very much, due to the soft cotton pile. 
Corduroy is used in making garments which must stand considerable 
wear, particularly trousers. Most common width, 22" to 36". Usual 
price per yard, 50c to $3.00. 

CRETONNE. 

Paragraph 12. Cretonne is a strong cotton cloth, rather well 
known for its large designs and attractive colors. The design is 
printed after the cloth is woven, hence the design is found only on 
one side. It is used principally for curtains, draperies and other 
decorative purposes. Most common width, 25" to 36". Usual price 
per yard, 15c to 75c. 

DAMASK. 

Paragraph 13. The original damask was a fine linen fabric, 
deriving its name from Damascus. A very good imitation is now 
made of cotton. It is woven smooth like sateen with a distinct twill 
in a conventional or floral design. Most common width, 1 to 2 yards. 
Usual price per yard, 25c to 75c. 

DENIM. 

Paragraph 14. Denim is a coarse, strong cotton fabric, generally 
woven in plain colors, presenting a fine, uneven, twilled weave. It is 
most commonly used for floor coverings, upholstering purposes or 
coarse garments which must withstand hard wear. Most common 
width, 36". Usual price per yard, 18c to 25c. 

DIMITY. 

Paragraph 15. Dimity is a sheer cotton fabric, woven so as to 
present the appearance of cords or ribs. It is made in white or colors, 
sometimes printed with figures. It is a very light weight material and 
is frequently used for summer dress goods. Most common width, 36". 
Usual price per yard, I2V2C to 20c. 

DUCK. 

Paragraph 16. Duck is a very familiar cotton fabric. It is a 
strong, heavy material used for tents, awnings and ship sails. Some 
of the lighter weaves are used for wearing apparel. It may be had 
either in colors or plain white. Most common width, 27" to 36". 
Usual price per yard, 25c to 75c. 



295 

FLANNELETTE. 

Paragraph 17. Flannelette is a very soft cotton material woven 
so as to present a slight nap on both sides. It may be had either plain 
or printed in colors. It is used in making garments that require soft 
surfaces as kimonos, wrappers and the like. Most common width 
27". Usual price per yard, 8c to 15c. 

GALATEA. 

Paragraph 18. Galatea is a very heavy cotton fabric which may 
be had either in plain colors, figures or stripes. It is very strong and 
serviceable and is particularly suitable for children's clothing. It 
will stand a great deal of laundering without showing the wear. Most 
common width, 27". Usual price per yard, 12y2C to 25c. 

GINGHAM. 

Paragraph 19. Gingham is probably the most common and serv- 
iceable of the cotton fabrics. It may be had in plain weave or in 
almost any combination of warp and woof threads. The fact that the 
design is woven into the cloth explains why the ginghams may be 
known by their figures appearing on both sides. This distinguishes 
them from calicos and other prints. Gingham is used for dresses, 
shirts and almost innumerable purposes. Most common width, 24" 
to 30". Usual price per yard, 10c to 50c. 

HUCKABACK. 

Paragraph 20. Huckaback is a material generally used for towels. 
It may be had either woven entirely of cotton or of linen. It is also 
sometimes made in combination of cotton and linen. It is so woven 
as to present a rather rough surface which gives it absorbing qual- 
ities particularly desirable in towels. Most common width, 18". 
Usual price per yard, 20c up. 

INDIAN HEAD. 

Paragraph 21. Indian Head is a cotton fabric, very much resemb- 
ling duck, although of much finer weave. It is used for very much 
the same purposes. Most common width, 36". Usual price per 
yard, 15c. 

KHAKI. 

Paragraph 22. Khaki is a heavy plain woven material, very 
similar to duck, usually brown or dust color. It is used for men's 
rough garments and outing suits. Most common width, 27". Usual 
price per yard, 25c to 50c. 



296 

LAWN. 
Paragraph 23. Lawn is a very fine, sheer cotton fabric which may 
be either plain white or colored. It is very commonly seen with 
dainty flower designs of delicate colors. It presents a very soft, 
smooth finish and launders well. It is used principally for aprons and 
dresses. Most common width, 36" to 54". Usual price per yard, 5c 
to 25c. 

LONG CLOTH. 

Paragraph 24. Long Cloth is a fine cotton fabric made in a great 
many different qualities. It is very soft, coarsely woven and is used 
a great deal in making underwear and infants' clothing. It closely 
resembles cambric and muslin. Most common width, 36". Usual 
price per yard, 10c to 25c. 

MADRAS. 

Paragraph 25. Madras is a very common cotton fabric. It may 
be found either in white, striped, figured or plain colors. It is often 
used for dresses and shirts. It probably originated in Madras, India, 
from which it derived its name. Most common width, 27". Usual 
price per yard, 25c. 

MULL. 

Paragraph 26. Mull is a very fine quality of soft muslin which is 
used in dresses. It may be had in plain white or colors. It was 
originally a combination of cotton and silk. Most common width, 32". 
Usual price per yard, 30c to 40c. 

MUSLIN. 
Paragraph 27. Muslin is one of the most common of the cotton 
fabrics. It is made in a great many different qualities, both bleached 
and unbleached. It is used for pillow cases, sheeting, linings and 
underwear. Most common width, 36" to 72". Usual price per yard, 
5c to 15c. 

NAINSOOK. 

Paragraph 28. Nainsook is a light cotton fabric which is very 
soft. It does not have as much body as the finer lawn or batiste, but 
is made in various grades. It is frequently used for infants' clothing. 
Most common width, 27". Usual price per yard, 15c to 45c. 

ORGANDIE. 

Paragraph 29. Organdie is a very fine, almost transparent, muslin 
of plain weave. It is sometimes stamped with figures or designs. It 
is used for dresses. Most common width, 1^" to 60". Usual price 
per yard, 15c up. 



297 

OUTING FLANNEL. 

Paragraph 30. Outing Flannel is a very common cotton fabric, 
very similar in appearance to flannel, having the nap on each side. 
It may be had in plain colors or stripes or checks. It is used in 
making shirts, petticoats, pajamas and sometimes used in infants' 
clothing. Most common width, 36 ". Usual price per yard, 10c to 15c. 

PERCALE. 

Paragraph 31. The original percale was probably made of linen, 
although a great deal of percale is now made of a good grade of cotton. 
It is closely woven, with the figure woven into the material, somewhat 
similar to gingham. It is used for shirts, dresses and aprons. Most 
common width, 36". Usual price per yard, 12y2C to 15c. 

SATEEN. 

Paragraph 32. Sateen is a cotton imitation of satin. On one side 
it presents a twilled appearance, on the other side it has a lustrous 
appearance very much like satin. It is used principally for linings 
and underskirts. Black is the most common color. Most common 
width, 21" . Usual price per yard, 25c. 

SILKALINE. 

Paragraph 33. Silkaline is a soft cotton fabric which bears a 
slight resemblance to silk, due to its peculiar glazed finish. It is 
usually found in attractive colors which are printed after the material 
is woven. It is used for draperies and household furnishings. Most 
common width, 27". Usual price per yard, 15c. 

TICKING. 

Paragraph 34. Ticking is a very strong cloth of excellent wearing 
qualities. As the name suggests, its principal use is for mattresses, 
pillows or various other ticking purposes. Most common width, 27". 
Usual price per yard, 15c. 

TURKISH TOWELING. 

Paragraph 35. Turkish Toweling is a coarsely woven cloth in 
which, by a special method of weaving, the woof threads are continu- 
ously thrown up on the right and wrong sides in short loops. It is 
used for towels, wash cloths and bath mats. The loose threads make 
it particularly valuable for bath towels, as they give it a decided ab- 
sorbing quality. It is usually found in white, but sometimes in plain 



298 

colors. Most common width 15" to 24". Usual price per yard, 25c 
to 50c. 

VELOUR. 

Paragraph 36. Velour is woven in several widths, presenting a 
smooth surface, due to the pile, somewhat similar to velvet. The 
lighter weights are used for dress trimming while the heavier weights 
are used for upholstering purposes. It may be had in attractive and 
pretty designs. Most common width, 36" to 42". Usual price per 
yard, $1.00 up. 

LINEN. ' 

Paragraph 40, Next to cotton, the most important vegetable fiber 
comes from the flax plant. This fiber is not a seed hair like cotton, 
but is a bast fiber; this is the tough thread-like substance found just 
beneath the bark of the flax plant. 

Flax is raised in a great many different countries but it varies in 
the fineness, length and quality of its fibers. The flax plant is cut 
when ripe, and the stalks are then allowed to lie in a damp place, 
usually a swamp or an artificial pond, in order to soften the outside 
layer of the bark. This process is called "retting." There are a num- 
ber of artificial means now adopted for the retting of flax. After this 
process is completed the flax is broken and by a proper machine the 
bast fibers are separated from the w^aste material. These fibers are 
properly cleaned, combed and spun into linen thread. This thread is 
very much stronger than thread spun from wool or cotton. The 
strength of linen thread is due to its very long fibers, varying from 
a few inches up to several feet. Each fine fiber is a long filament 
composed of small cells. 

Linen is used in a number of the finer fabrics for domestic use. 
It has been employed for various home uses for many centuries, in 
fact, it is almost impossible to study the history of the very earliest 
people without finding the use of linen. It probably came into use 
long before cotton was introduced. 

Linen does not stand the action of alkali and soap as well as 
cotton; it is more difficult to dye than cotton, but is usually treated 
with about the same process. Linen fibers are very smooth and rather 
gray in their natural color, although they readily bleach to a beauti- 
ful white. This is why linen is so popular for table cloths, napkins 
and fine towels. Linen absorbs moisture very rapidly. In fact, one 
of the common tests for linen is to touch it with a moistened finger 
to see whether it will immediately absorb the moisture. This test 
is not always accurate, however, due to the fact that cotton may be so 
woven as to absorb moisture in almost the same way. A surer test 



299 

is to moisten it with a drop of glycerine which will be readily ab- 
sorbed by linen, but will not be so readily absorbed if the cloth con- 
tains cotton. 

Linen burns freely in the air, almost entirely without disagree- 
able odor; it leaves but very little ash. Linen may usually be iden- 
tified by the long slender point which is left when the thread is broken. 
Cotton thread usually breaks more abruptly, leaving a ragged end. 
There are a great many chemical tests that are used to detect the 
presence of cotton or other adulterations in linen, these however, are 
so technical that no effort will be made to present them here; they 
may be found in some of the references given in this text. 

The following kinds of linen cloth are most common. 

BATISTE. 

Paragraph 41. Batiste is a fine, soft linen fabric. It is very sheer, 
somewhat similar to, but much finer than cotton batiste. It is used for 
waist and dress material. Most common width, 36". Usual price per 
vard, $1.00. 

BUTCHER'S LINEN. 

Paragraph 42. Butcher's Linen is a very heavy, closely woven 
material, somewhat resembling canvas though finer and stronger, it 
is used for aprons, dress skirts and for butchers' aprons from which 
the name is derived. Most common width 27" to 44". Usual price 
per yard, 35c to $1.50. 

CAMBRIC. 

Paragraph 43. Cambric is a very fine, thin linen material, sim- 
ilar to, but much finer than cotton cambric. It is used for dress goods 
and handkerchiefs. Most common width, 36". Usual price per 
yard, 50c. 

CRASH. 

Paragraph 44. There are a great many different qualities of 
crash. Some are made entirely of linen, others of cotton and some of 
mixed materials. Crash is made principally for towels, though some- 
times used for upholstering purposes and the finer grades for dress 
goods. Most common width 18" to 36". Usual price per yard, 25c up. 

DAMASK. 

Paragraph 45. Damask is one of the best known of linen fabrics. 
It is a very fine material used for table cloths, napkins and fine 
towels. It is usually woven in figures and designs. Most common 
width 16" to 54." Usual price per yard, 35c to $2.00. 



300 

HANDKERCHIEF LINEN. 

Paragraph 46. Handkerchief Linen is a plain, fine, smoothly woven 
fabric designed for handkerchiefs. It is sometimes used for dress 
material. Most common width 30". Usual price per yard, 50c to $2.00. 

HUCKABACK. 

Paragraph 47, Huckaback is a loosely woven linen fabric, being 
so woven as to expose much of the surface of the woof threads, it 
is so designed in order to give it a greater absorbing surface. It is 
sometimes made entirely of cotton, other grades are mixed, though 
the finer qualities are of pure linen. Most common width 18". 
Usual price per yard, 25c. 



301 

ANIMAL FIBERS 

WOOL. 

Paragraph 50. Of the animal fibers, wool is by far the most 
plentiful and the most important. Wool is the hair of a certain class 
of animals, of which the sheep is most common. There are a great 
many kinds and varieties of wool which vary principally in the length 
and fineness of their fibers, however, they are all very similar in their 
general characteristics. Wool fiber, if carefully examined with a 
magnifying glass, will reveal a surface covered with scales some- 
what similar to the shingles on a roof or the scales of a fish. It is 
the presence of these scales, which cling to each other, that makes it 
possible to use the short wool fibers in spinning and weaving valu- 
able fabrics. 

W^oolen fibers are very elastic but do not present as great strength 
as cotton or linen. The soft, loosely twisted and loosely woven fibers 
produce the woolens or the kinds of cloth which have considerable 
nap or pile. These woolen fibers are sometimes combed until they 
lie almost straight and parallel; they are then twisted into a rather 
hard glossy thread of regular, even size. Such treatment of wool 
produces the line worsteds, so well known in clothing, particularly in 
men's suits. 

Wool absorbs and retains coloring matter very readily, it does 
not fade or lose its color when exposed to sunlight and other condi- 
tions to which clothing must be subjected. This is one property 
which makes wool very valuable for fine clothing. 

There are a great many kinds of cloth made from wool. On 
account of its many excellent properties it is used in a greater variety 
of ways than any other textile. The most characteristic and peculiar 
quality of woolen fiber is its tendency to "felt." Tliat is, the woolen 
fibers may be brought so close together that their scales seem to mesh 
and form a continuous fabric without weaving. There is no other 
textile fiber which has this property. Wool is very sensitive to 
alkalies; this explains why in laundering all-wool garments they 
should not be treated with strong soap or other caustic alkalies. 

Wool is very frequently adulterated with cheaper fibers, especially 
cotton. While the introduction of a certain amount of cotton in a 
woolen fabric may give it added strength, yet such material will, for 
the most part, be inferior and should be less expensive than all-wool 
material. It requires a great deal of training and practice to be able 
to determine the presence of cotton in so-called "wool cloth." A 
great many difterent tests have been devised but they belong to tech- 
nical lines of work. There are, however, a few simple tests which are 



302 

easily made and are therefore pretty generally known. The burning 
test is quite common; woolen material burns very slowly and leaves 
a distinct ash, usually curled or rounded in a bead-like end. The 
burning of wool is accompanied by a very disagreeable odor some- 
what resembling that of burning feathers. This odor is due to the 
presence of the animal oil found in the woolen fibers. 

By picking a small sample of cloth to pieces and examining the 
different threads, the presence of cotton can usually be detected. 
(This can often be done on underside and exposed seams). Some- 
times by setting fire to a piece of mixed goods, the cotton, which burns 
rapidly, can be readily burned out, while the woolen portion, which 
burns more slowly, is left. While it is not always convenient to make 
these tests, by careful practice one can become sufficiently acquainted 
with the general appearance of various woolen inaterials to identify 
them with a reasonable degree of certainty. 

The following are the most common kinds of wool fabrics. 

ALPACA. 

Paragraph 51. Alpaca is a fine woolen fabric, which somewhat 
resembles silk; it is very beautiful on account of its glossy appear- 
ance. It combines well with cotton and is often so found. It is used 
extensively in dress goods and men's clothing. Most common width 
36" to 45". Usual price per yard, 75c to SI. 00. 

BLANKETS. 

Paragraph 52. Blankets are a very common woolen fabric, 
known for their soft covered surface. They are usually purchased 
in full size ready for use. They are woven without any seams and 
may be had in almost any color, with attractive designs. They are 
frequently woven with part cotton. Genuine all-wool blankets are 
usually sold from $7.00 up. 

BROAD CLOTH. 

Paragraph 53. One of the finest of our woolen fabrics, and 
probably one longest known as a standard for fine suits is broad 
cloth. It has a very soft smooth finished surface. It is so closely 
woven that the separate threads do not show. It is used for various 
kinds of dress goods and suiting. Most common width, 50". Usual 
price per yard, .$2.00 to $7.00. 

BUNTING. 
Paragraph 54. Bunting is a very coarsely woven woolen fabric. 



303 

It is used in making the better grade of flags. It may be had in colors. 
Most common width, 24". Usual price per yard, 35c to 50c. 

CASHMERE. 

Paragraph 55. Cashmere has a distinct twilled weave that is 
very soft. It derives its name from the cashmere goat. It is used 
principally for dress goods. Most common width, 36" to 45". Usual 
price per yard, 75c to $1.50. 

CHEVIOT. 
Paragraph 56. Cheviot is a strictly woolen cloth made both with 
a rough surface and a smoother finish. It is very much like serge but 
somewhat heavier. It is woven both plain and twilled. It is used 
principally for suiting. Most common width 42" to 48". Usual price 
per yard, 75c to $3.00. 

EIDERDOWN. 

Paragraph 57. Eiderdown is a heavy woolen fabric, though it 
presents a very soft surface on account of its long pile. It is used 
principally for wraps. Most common width 27" to 44". Usual price 
per yard, 75c to $1.50. 

FELT. 

Paragraph 58. Felt is a very peculiar woolen fabric which is 
made without being woven at all, but simply by pressing the wool 
fibers so as to form a cloth; no other textile fiber has this property 
of felting. It may be had in almost any of the plain colors. It is 
used for banners, pennants and table covers. Most common width, 
24" to 52". Usual price per yard, 50c to -$2.00. 

FLANNEL. 

Paragraph 59. Flannel is a soft finished loosely woven material 
which may be had in plain or various colors, slightly napped. It is 
used for dress goods, shirts, petticoats and infants' wearing apparel. 
Most common width, 27" to 36". Usual price per yard, 50c to $1.50. 

HENRIETTA. 

Paragraph 60. Henrietta is a soft woolen fabric very much like 
cashmere. The original henrietta cloth was made partly of silk and 
partly of wool. It has a distinct twilled weave. It is used in making 
dresses and suits. Most common width 38" to 45". Usual price per 
yard, $1.00 to $2.00. 

PANAMA. 

Paragraph 61. Panama is a soft fabric made with a distinct 
^weave in plain colors. It is very serviceable, being used principally 



304 

for dresses, suits and skirts. Most common width, 42" to 54". Usual 
price per yard, 75c to $2.00. 

SERGE. 

Paragraph 62. There are many different kinds of serge which 
are named according to their finishes. Some serges contain consid- 
erable silk; they usually present a smooth, firm surface due to the 
hard iinished yarn. Serge is very serviceable. It is a suitable material 
for men's clothing, also very commonly used for women's wear. Most 
common width, 42" to 54". Usual price per yard, 75c to $8.00. 

VOILE. 

Paragraph 63. Voile is one of the thinnest of the woolen fabrics, 
coarsely woven, even showing space between the warp and woof 
threads. It is used for fine dresses. Most common width 42" to 45". 
Usual price per yard, $1.25 to $2.00. 

SILKS. 

Paragraph 70. Silk is the most valuable and the most wonderful 
of all the textile fibers. It was first used by the Chinese, probably 
as early as 1700 B. C. The origin of silk was kept a secret among 
the Chinese until about 550 A. D. About that time it became known 
in Europe. Silk is by far the strongest of the textile fibers, being 
almost equal in tensile strength to an iron wire of the same diameter. 
This great strength is due to the nature of its fibers, being composed 
not of short interwoven fibers, as is the case with wool or cotton, 
but consisting rather of one long and continuous filament, ranging 
from four to thirteen hundred yards in length. Each of these fila- 
ments is the product raveled from a single cocoon. These cocoons 
are made by what is commonly known as the silk worm. It is a 
peculiar kind of caterpillar which spends about three days wrapping 
itself in a silk covering or cocoon. The material from w^hich the 
caterpillar spins its thread is an excretion from its body. 

After the caterpillar is surrounded by its cocoon, it undergoes a 
very remarkable change, and would in due time break open the cocoon 
and emerge in the form of a butterfly. This would rend Hie cocoon 
and practically destroy the silk fibers, therefore men engaged in the 
culture of silk, kill the pupa by subjecting it to heat or steam. It is 
then possible, by skillful handling, to unravel the silk fiber which 
has formed the covering of the caterpillar. These are the fibers which 
are spun into thread. 

Silk fiber has another peculiar property which is distinct from 
all other textile fibers. That is, its very high luster. Just why silk 



305 

has this property is not fully understood. It is this property which 
makes possible the beautiful sheen of the fine silks and satins. 

Silk may be dyed with various colors, in a manner similar to 
wool. Silk also acts under alkali tests about the same as wool; how- 
ever, it will stand a very much higher temperature. It is not so sen- 
sitive to alkali as wool, neither is it so quickly destroyed by acids. 

On account of the many attractive properties of silk, also on ac- 
count of its scarcity, it is quite frequently adulterated by the addition 
of other fibers such as mercerized cotton or linen. A great many 
tests have been devised by which one may determine whether a so- 
called silk fiber is adulterated. Most of these tests are too complicated 
to be introduced here. You can, however, generally recognize silk by 
its very soft pliable nature. If you are in doubt, a few threads may 
be drawn and examined separately. If examined under the microscope 
these threads will reveal the perfectly smooth surface of the fiber, 
showing that it is made up of the long filaments already described 
rather than of short fibers like cotton or linen. If the threads are 
given the burning test, the peculiar odor similar to burning feathers 
will be evidence of genuine silk. While silk is not a common fabric 
in everyday wearing apparel, yet it is sufTiciently common that its 
general properties should be understood. 

The following are the most common kinds of silk fabrics. 

CHIFFON. 

Paragraph 71. Chiffon is a very thin gauze-like fabric, usually 
found in plain colors. It is used extensively for trimmings in mil- 
linery, also for A'eils and dress goods. Most common width, 46". 
ITsual price per yard, 75c to $2.00. 

CHINA SILK. 

Paragraph 72. China Silk, as the name suggests, is made in 
China. It is a plain woven material, but has irregular threads and 
is distinguished by its softness. It is a very durable material and 
is therefore used for dress goods. Most common width, 24". Usual 
price per yard, $1.00. 

CREPE DE CHINE. 

Paragraph 73, This is a very beautiful silk material, having a 
smoother surface than most of the crepes; it is very soft and lustrous. 
Although it is a plain weave, it is frequently changeable, due to the 
twist of the warp threads; it may be had either in plain colors or 
prints. It is used for dress goods. Most common width, 22". Usual 
price pel' yard, 60c to •'i'l.SO, 



306 

FOULARD. 

Paragraph 74. The Foulard is a French silk, originally used for 
handkerchiefs, now used for dress goods; it is made both in the 
plain and woven designs. Most common width, 24". Usual price 
per yard, 60c to $1.50. 

PLUSH. 

Paragraph 75. Plush is a very common heavy silk fabric, used 
principally for trimmings or for heavy coats; it is also used some- 
what in upholstering. It is very similar to velvet, but has longer 
and more shaggy pile. Most common width, 24". Usual price per 

yard, $3.00. 

PONGEE. 

Paragraph 76. Pongee is a common silk fabric, used for coats 
and dress goods. It also originated in China where it was hand 
woven. Originally it was probably made from the silk of wild silk 
worms. It is a soft fabric, very serviceable and washable; it is com- 
monly found in unbleached form also in plain white and colors. Most 
common width, 27". Usual price per yard, ^1.00. 

SATIN. 
Paragraph 77. Satin is a very common but expensive form of 
silk. It is used, not only for clothing, but in many forms for fancy 
decorations. Some of the better qualities are employed in the con- 
struction of fine gowns. It is known by its very smooth surface, 
upon which much of the woof thread is exposed, giving it its char- 
acteristic sheen. It is a material that is frequently adulterated with 
cotton and linen, which explains its variation in price. Most common 
width, 21" to 54". Usual price per yard, $1.00 to $10.00. 

TAFFETA. 
Paragraph 78. Taffeta is a very thin glossy silk, usually of plain 
texture and plain colors, although it is sometimes made with woven 
figures. It is used for gowns and linings. It is not so strong and 
serviceable as some of the other silks. Most common width 21" to 
54". Usual price per yard, 60c to $2.00. 

VELVET. 
Paragraph 79. Velvet is perhaps the finest of the silk fabrics. It 
is so woven as to present a rather long pile which is so cut as to 
form a continuous smooth surface. It is used for trimmings and 
also for very fine gowns. It is frequently woven partly of cotton or 
linen in the body. Most common width 18" to 42". Usual price per 
yard, $1.00 to $10.00. 



307 



CHAPTER II. 

SEWING PROCESSES 

INTRODUCTORY SUGGESTIONS. 



Paragraph 100. 

One of the first things to 
think of when beginning to sew 
is the position in which you 
should sit. Sit erect, in an easy 
position with the work near 
enough the eyes so that it can 
be easily seen. Observe the cor- 
rect position shown in Figure 1. 
Sit with both feet flat on the 
floor so as not to tire the mus- 
cles of the back; whenever it is 
necessary to look at the work 
very closely, lift it to accommo- 
date the eyes and thus avoid 
bending the back, neck and 
shoulders in the undesirable 
position shown in Figure 2. 

The needle should be threaded 




mm 


'-^^ 




MjPVi 1 






^ 1 


-^^\ 


m 


• 



Figure 2. Incorrect Position. 



Figure 1 Correct Position. 

with thread about 20" to 25" long, 
that is about the length of the arm. 
Tying the knot is one of the first 
things necessary in sewing. Be 
careful to have a tiny round ball 
instead of a bundle of loops at 
the end of the thread. To tie the 
knot, hold the needle and thread 
in the right hand, wrap the end 
of the thread around the front 
of the forefinger of theleft hand; 
roll it with the thumb, and as 
you pull it off the finger draw 
it down to a small knot with the 
nail of the second finger and the 
thumb. It will require a little 
practice to be able to do it skill- 
fully. 

A thimble should always be 



308 



worn on the second finger of the right hand to protect the end of the 
finger or the finger nail. The side of the thimble is generally used. 

STRAIGHTENING CLOTH. 
Paragraph 101. While cloth is always woven so that the threads 
run perpendicular to each other, that is, the woof threads ( those that 
run from selvage to selvage) cross the warp threads (those that run 
lengthwise of the goods) at right angles, yet it is often stretched out of 
shape after it is woven. It may be straightened by pulling it diagonal- 
ly at opposite corners, and then pulling it straight on the warp threads. 

STRAIGHTENING THE EDGE OF CLOTH. 

Paragraph 102. 

The edge of a piece of cloth 

which has been cut unevenly 

may be straightened as follows : 

Pull out a thread entirely across 

the uneven edge, starting to 

draw it at the point where the 

deepest cut has been made in 

the edge of the cloth; a line will 

be formed where the thread is 

drawn. With a pair of sharp 

scissors, cut on this line. See 

Figure 3. Figure 3. 

Another method sometimes used is to ravel off the threads on the 

uneven edge until you come to one thread which runs entirely across 

the cloth. Trim off the fringe so left on the cloth until the edge is 

perfectly even. EVEN BASTING. 

Paragraph 103. Insert the 
needle on the right side of the 
cloth. This will leave the knot 
on the right side, where it 
should be, for the basting is 
only a temporary stitch and 
will be removed when the per- 
manent stitches are done. Let 
the needle extend (in the de- 
sired direction) under the cloth 
and come up again at about V2" 
from where it first entered the 
cloth. Put it through the cloth Figure 4. 

to the under side again at a space of about ^-2", making a stitch V2' 





309 




long on the right side. See Figure 4. Continue the process making 
the stitches all of even length on both the right and wrong side of the 
material. Fasten the thread with three or four small stitches sewed 
over one another. 

This stitch is used in basting hems and seams that are to be fitted. 
Its lengUi may be varied according to the amount of strain that is to 
be placed on the basted pieces before they are permanently stitched. 

UNEVEN BASTING. 

Paragraph 104. The uneven 
basting stitch is made the same 
as the even basting stitch (Par. 
103) except that the stitch on 
the upper side of the cloth is 
made about two or three times 
as long as the stitch on the un- 
der side of the cloth. (See Fig- 
ure 5.) 

Uneven basting is used in 
fastening together two or more 
pieces of cloth where there is 
to be no strain on them before Figure 5. 

the permanent basting is done. For instance, in holding together the 
lower part of a full skirt, basting the seams for cuffs or holders and 
things of that sort. TACKING. 

Paragraph 105. Tacking is a modification of the uneven basting 
stitch (Par. 104), except that the short stitches are usually made 
slanting or vertical. Tacking is used to fasten linings and inter- 
linings to dress or suiting material. 

Tie a knot in the thread; insert the needle from the right 

side of the material ; take a ver- 
tical or a slanting stitch about 
one-fourth inch long on the un- 
der side of the material. Set 
the needle forward in the de- 
sired direction one-half an inch 
or more, (See Figure 6.) Re- 
peat until you have completely 
fastened the two pieces togeth- 
er. Fasten the thread by sew- 
ing over and over a short stitch 
Figure 6. at the end. 




310 




THE RUNNING STITCH. 

Paragraph 106. The running 
stitch consists of very short even 
stitches, always the same length 
on the right and wrong sides of 
the material. To make this stitch, 
tie a knot in the thread, bring 
the needle through from the un- 
derside of the cloth (to place the 
knot on the under side); take a 
very short stitch on the upper 
side of the cloth, then one of 
equal length on the under side. 
See Figure 7. Continue this 
process keeping the stitches even 
Figure 7. and straight. 

Instead of using a knot in the thread you may begin this stitch 
by taking two or three small stitches one over another. 

Before the days of machines the running stitch was in common 
use for many of the seams now made with machine stitching. This 
stitch is still used to fasten two pieces of material together in a seam 
where great strength is not required. It is used for the first row of 
stitching in a French seam; it is also used in gathering. 

THE BACKSTITCH. 

Paragraph 107. The backstitch, 
as the name implies, is made by 
setting the needle back on the 
right side of the material half 
the length of the stitch just made 
on the underside, thus making 
a continuous line of stitches re- 
sembling sewing machine work. 

First sew over and over with a 
small stitch to fasten the thread. 
Insert the needle where you be- 
gan the first stitch and take a 
stitch forward under the cloth 
the length of two stitches, bring Figure 8. 

the needle through and insert it where the first stitch ends, bringing 
it under the cloth the length of the two stitches again. See Figure «. 
Repeat, keeping the line straight and the stitches even. Fasten by 
sewing over the last stitch two or three times. 

This is a strong stitch which may be used any place where ma- 
chine stitching Mould be desirable or where particularly strong hand- 
made seams are required. 




311 




Figure 9. 
on the needle. See Figure 9. 



COMBINATION STITCH. 

Paragraph 108. This stitch is 
a combination of the running 
stitch and the backstitch. To 
begin it, sew over a small stitch 
two or three times, then insert 
the needle as if to sew over 
again, without removing the 
needle, take two short running 
stitches forward, draw the needle 
through to the right side. Set 
the needle back at the beginning 
of the last stitch, bring it through 
at the end of that stitch and 
again take two running stitches 
Continue this process. 

OVERHANDING. 

Paragraph 109. Overhanding consists of very small stitches 
whipped over and over edges of material, not for the mere function 
of preventing raveling, as is the 
case with overcasting, but to 
bind the two edges firmly to- 
gether. 

To make this stitch, begin by 
concealing the knot in a fold ot 
the material or by sewing over 
Va" of the thread along the edges 
of the material. Insert the needle 
at the back of the edge and bring 
it through, pointing directly to- 
ward you. See Figure 10. Insert 
again at the back about Vs" to 
the left of the first stitch and ^''-"'•^' J"- 

bring it through again. Continue this process barely catching the edge 
of the material each stitch. This stitch will slant across the top edge 
of the goods, but the needle should be put through straight across. 
The stitches should be very shallow so the work may be pressed 
with thumb and finger without leaving a ridge. Finish by sewing 
over the last stitch two or three times to fasten the thread. 

Overhanding is used in sewing lace on the edge of material and 
in fastening two selvage edges together in a seam, or two folded edges 
as in the bottom of pillow cases; it is also used in making a French 
hem (Par. 111). 




312 



OVERHANDING A SEAM. 

Paragraph 110, A seam may be made by overhanding together 
two selvage edges or two raw edges turned under. To avoid using a 
knot which would be difficult to conceal, you may fasten the thread 
by sewing over the end of it in the first few stitches. A knot may be 
used in overhanding seams which have the raw edges turned under. 

This stitch is most commonly worked from right to left although 
some prefer to work from left to right. Hold the two edges together 
and overhand as explained in Paragraph 109. 

The overhand seam is used in sewing any kind of seams where 
flat smooth work is desired as in the overhand patch (Par. 150) and 
seams of pillow cases. 

OVERHANDING A HEM. 

Paragraph 111. The overhanded hem is made by sewing the 
folded edges of a hem to the body of the material with the overhand- 
ing stitch instead of the hemming stitch. 

To do this fold down the desired width with the raw edge turned 
under, crease firmly and baste if necessary. Fold the hem back 
against the right side of the material so the edge of the hem will lie 
parallel with one thread of the material. Overhand (Par. 109) the 
parallel threads together. This makes the so-called French hem. 

This hem is used to finish the ends of towels, table cloths and 
napkins. 

OVERHANDING ON LACE. 

Paragraph 112. In sewing 
lace to the edge of material, it 
is overhanded or whipped on 
to make it lie flat on the edge 
of the material. 

To sew on the lace, lay the 
edge parallel with the edge of 
the material with the lace to- 
ward you, and overhand the 
two edges together. See Figure 
11. Full the lace slightly as 
you sew by pushing it toward 
the needle with the thumb. 
Lace is overhanded on the edge of handkerchiefs, underwear, 
sleeves, or any place where lace is used for trimming. 




Figure 11. 



313 




Figure 12. 



OVERCASTING. 

Paragraph 113. Overcasting^ 
is a loose slanting stitch used 
to i)revent raveling of edges. To 
make this stitch, trim off the 
material which is to be over- 
casted. This stitch is usually 
worked from left to right al- 
though some prefer to work 
from right to left. 

Tie a knot in the thread, in- 
sert the needle from the under- 
neath, about Va" below the edge 
of the material; bring it through 
to the right side, insert it again 
on the under side ahead of the first stitch the same distance as the 
depth of the stitch; bring the needle through and draw the loop of 
thread down until it lies smoothly, but loosely, over the edge of the 
material. See Figure 12. Continue this process. This will make 
the stitches lie at an angle across the edge of the cloth. The depth 
and width of the stitches will vary according to the width of the 
seams being overcasted. 

HEMMING. 

Paragraph 114. A hem is formed by folding over an edge of 
material, usually with the raw edge slightly turned under, and sewing 
it down securely to form a neat, strong edge. After the hem is folded 
and basted in position, tie a 
knot in the thread, insert the 
needle between the hem and 
the cloth near the beginning of 
the hem; bring it out through 
the edge of the hem. Pointing 
the needle toward the left 
shoulder, take up a thread of 
the material very near the hem, 
and a short distance ahead of 
the first stitch; push it through 
the edge of the hem, making 
the needle form a V with the 
thread as shown in the illustra- 
tion. See Figure 13. The stitches should be slanting, even, and close 
together. Continue in this same manner repeating the stitches until 




Figure 13. 



314 



the hem is sewed in place. Fasten the thread by sewing over the 
last stitch three or four times. 

Hemming is so common that there is scarcely a garment or piece 
of needlework that does not employ some form of the hem in its 
construction. It is used in handkerchiefs, curtains, draperies, and 

wearing apparel. 

HEMSTITCHING. 

Paragraph 115. Hemstitching is an artistic method of making a 
hem by drawing a certain number of threads from the body of the 
material, and catching the remaining threads regularly in the hem- 
ming procss. To make the single hemstitch first plan the width of 
the hem, then from the edge of the material measure up twice the 
width of the hem plus the first turn and draw a thread. Draw four 
or five more threads toward the body of the cloth. The number of 
threads to be drawn depends upon the fineness of the material and 
the width you desire to have the hemstitching. Fold the hem in place, 
making the edge of the hem exactly even with the first drawn thread; 
crease firmly and baste with even basting. Tie a knot in the thread, 
insert the needle in the hem, near one end, so as to conceal the knot, 

bring the needle out through 
the edge of the hem. With the 
thumb of the left hand hold the 
thread in a loop, set the needle 
under three or four threads 
(depending on the size of the 
threads). Keep the needle over 
this loop of thread, then take 
a hemming stitch into the hem, 
then with the thumb hold the 
thread in a loop as before and 
take the same number of 
threads as before. See Figure 
14. Continue until the hem is 
completed. The stitches should all be even and should all slant in 
the same direction. 

Fasten the hemstitching by bringing the needle through to the 
wrong side, sew over the last stitch two or three times. 

This stitch is used to finish the hems of napkins, table cloths, 
handkerchiefs, towels, ruffles on dresses, or, in fact, in any place 
where a fancy hem is desired. 

DOUBLE HEMSTITCHING. 

Paragraph 116. Double hemstitching is very similar to the single 




Figure 14. 



315 




Figure 15. 



I 



hemstitching except that it repeats the process on the opposite side 
of the tinj'^ space from which the threads are drawn. 

To make this stitch, prepare 
the hem as for the single 
hemstitch (Par. 115). Hem- 
stitch across one edge (Par. 
115), then turning the material 
around begin on the other edge 
of the drawn threads where 
there is no hem turned and 
hemstitch across catching up 
the same groups of threads 
that you did wlien stitching 
across the first time. See Fig- 
ure 15. 

This may be varied by tak- 
ing half the threads in one group and catching them in with half the 
threads in another group. It will thus give a sort of V shaped ap- 
pearance to the hemstitching. 

Double hemstitching may be used in any place where single hem- 
stitching would be appropriate. (See Par. 115.) 

DAMASK HEMSTITCHING. 

Paragraph 117. The damask 
hemstitch is a modification of 
the ordinary hemstitch, the 
threads being wrapped to pro- 
duce an artistic effect. 

To make this stitch, first 
plan the hem, draw the desired 
number of threads, crease and 
baste the hem just as in single 
hemstitching (Par. 115). Knot 
the thread and insert the needle 
in the lower edge of the hem; 
bring it out through the edge Figure 16. 

of the hem. Place the needle under three or four of the drawn threads 
and sew over and over the threads five or six times or until they are 
completely covered. Put the needle under the covered threads with 
three or four more uncovered threads, wrap the thread around them 
once, drawing it tight so the threads thus wrapped form the bottom 
of the V. See F'igure 16. Wrap the loose threads completely up to 
the hem. This will complete the V, Take a hemming stitch (Par. 




316 

114) between the two bundles of wrapped threads into the edge of the 
hem. Bind the threads wrapped last, and the next three or four un- 
wrapped threads together and continue across the hem. 

The damask hemstitch is used to finish edges of table linens. 



ROLLED HEM. 

Paragraph 118. The rolled hem is a very small round hem. As 
the name suggests, it is rolled rather than folded on the edge of the 
material. To make a rolled hem, hold the edge of the material between 

the thumb and forefinger of the 
left hand, and with a twisting 
motion roll under the edge of 
the material until you have a 
small hard roll. Knot the thread 
and insert the needle under the 
roll, to conceal the knot. Insert 
it again at the front about 1/16" 
ahead of the other stitch, thus 
wrapping the thread over the 
roll, very much like overcasting. 
Continue the sewing as you roll, 
thus making a rounded edge. 
See Figure 17. 

It requires care and some practice to keep it even. After the hem 
is rolled, lace is usually overhanded on the edge. Some prefer to sew 
the lace on as they roll the hem; this saves time but does not make 
the work look quite so neat. Fasten the thread by taking two or 
three small stitches over one another on the wrong side. 

The rolled hem is used on handkerchiefs, baby dresses or fine 
waists, in hemming the top of dainty lingerie, or in fact, any place 
where a very dainty hem is desired. 




Figure 17. 



FRENCH HEM. 

Paragraph 119. The French hem is the same as the overhanded 
hem discussed in Paragraph 111. 

CATCH STITCHING OR HERRINGBONE. 

Paragraph 120. Catch stitching consists of short, even stitche* 
alternately taken in Uxo parallel lines. (This can best be seen by 
examining the underside of the material after a few stitches are 
completed.) In crossing over from one line to the other the thread 



317 




Figure 18. 



falls on the right side of the 
cloth so as to form the crosses 
or herringbone effect at the 
ends of the stitches as shown 
in the illustration. See Fig- 
ure 18. 

By studying the illustration 
carefully you will see that the 
amount of cloth picked up 
on the needle each time to 
form a stitch is just equal to 
the distance between stitches 
on the other line. Watch this 
carefully; also keep the lines 
of stitches exactly the same distance apart so the work will be 
even. The manner of turning a corner is shown in Figure U). 
This stitch may be worke i 
from you, or from left to right ; 
this is unimportant, but ob- 
serve carefully that the stitches 
are always so taken that the 
needle points back over the 
finished stitches. 

Catch stitching is used in a 
decorative way for finishing 
Hannel seams, flannel patches 
and infants' garments. It is 
also employed in fancy needle- 

^'O^^^- Figure 19. 




SINGLE FEATHERSTITCHING. 

Paragraph 121. Single featherstitching consists of a series of 
even slanting (or bias) stitches so taken alternately on right and 
left sides of a central line as to form an ornamental row or border. 

NOTE: Your first effort at featherstitching should be on the 
edge of a hem, a seam, or a well marked thread in the material 
which will serve as a central line for your stitches. After some 
practice you will be able to follow an imaginary line. 

To make this stitch, first conceal the knot by bringing the 
needle through from the under side of the material slightly to one 
side of the central line. With the thumb of the left hand, hold the 



318 



thread down in front of the 
needle and take a slanting 
stitch on the opposite side of 
the line. Make the needle point 
toward the central line (See 
Figure 20) slanting at the true 
bias (45°). Hold the thread 
down in front of the needle as 
before and on the other side of 
the central line, and slightly 
ahead take a similar slanting 
stitch. Continue the above pro- 
cess using great care to make all 
stitches the same size and slant. 
This featherstitch is used considerably for decorative purposes 

on infants' garments, wraps and blankets. It is also employed in a 

great many ways in artistic needlework. 




Figure 20. 



DOUBLE FEATHERSTITCH. 

Parasraph 122. The double 

featherstitch is started in the 
same manner as the single 
featherstitch (Paragraph 121) 
except that instead of crossing 
to the opposite side of the cen- 
tral line after completing one 
stitch, two parallel stitches, ex- 
actly the same length, are 
taken on each side of the cen- 
tral line before crossing. 

Study the position of the 
needle shown in Figure 21. 

Note that one of the small '^"'^^ 

stitches has been completed just as in the single featherstitch, and 
that the needle is inserted and the thread is lying in the loop un- 




319 




Figure 22. 



tier the point of the needle 
for the second stitch. 
When this stitch is finished, 
the next stitch will be taken as 
shown in Figure 22; it will be 
followed by a second stitch 
parallel to it, completing the 
two on that side. Continue the 
process. 

Double featherstitching may 
be used anj'^where that single 
featherstitching would be ap- 
propriate. 



TREBLE FEATHERSTITCHING. 

Paragraph 123. Treble featherstitching, as the name suggests, 
consists of three stitches arranged in featherstitching. It is started in 
the same manner as the single featherstitching (Paragraph 121) a sec- 
ond stitch is added making it a double featherstitch (Paragraph 122), 
a third even parallel stitch is added which completes the treble feath- 
erstitch as shown in the upper portion of Figures 21 and 22. 

Treble featherstitching is used very much the same as single or 
double featherstitching. 

CROSS-STITCH. 

Paragraph 124. The cross- 
stitch, as the name indicates, is 
so made that the threads lie in 
the form of a cross; it may be 
slightly modified to suit the par- 
ticular style of design on which 
it is applied. The instructions 
in this paragraph present the 
method of making the simple 
cross-stitch in a straight line. 
Usually the design for cross- 
stitching is stamped on the ma- 
terial in small squares, parallel 
lines, or dots. Sometimes regu- 
lar cross-stitch canvas is used. 




Figure 23. 



It will be observed from the illustration (See Figures 23 and 24) that 



320 




Figure 24. 



'cacli stitch outlines the diagonal of a tiny square. These squares 
may be gauged by counting the threads or merely by sight. 

To make this stitch, tie a knot in the thread, bring the needle up 
through from the under side of the cloth at a point representing the 
forward upper corner of an imaginary square. Insert the needle 

again at a point representing the 
farther lower corner of the same 
square bringing the needle out 
at the farther upper corner of 
the same square. See Figure 23. 
This stitch when drawn down 
will form the first diagonal, and 
will bring the thread in position 
to start the second one; insert 
the needle at the forward lower 
corner of the square and taking 
a bias stitch on the under side 
bring it out at the forward upper 
corner of the next square as 
shown in Figure 24. When 
drawn down this will form the second diagonal, thus completing the 
cross-stitch in the first square. Study the illustrations carefully and 
continue the process. 

It will require careful work to make these stitches perfectly even 
for each time the stitch is made the outline of the little square must 
be clearly imaged. After completing one line of stitches, additional 
lines may be added until the design is completely worked out. Fasten 
the thread by taking two or three stitches over one another on the 
wrong side. 

The cross-stitch is used for ornamental purposes. Sometimes 
different colors are combined and the work is varied to suit different 
designs. 

OUTLINE ETCHING STITCH. 

Paragraph 125. The outline etching stitch is worked on a line; 
it has the appearance of running stitches with their ends slightly 
overlapping somewhat like backstitching. 

To make the stitch, tie a knot in the thread and bring the needle 
through from the under side to conceal the knot. Set the needle 
forward the length desired for the stitch (usually from %" to 3/16") 
and bring the point up through the material (with the needle point- 



321 




ing back toward the stitch just 
made) about one-third the 
length of the last stitch. See 
Figure 25, (The upper portion 
of this figure shows the appear- 
ance of the stitch very much 
enlarged; from this view you 
may see just how it is made.) 
Again set the needle forward, 
making a stitch of the same 
length as the first one and bring 
the point back through as be- 
fore. Continue until finished. 
Fasten the thread on the 
wrong side by sewing over and 
^"'^"'' ^^- over the last stitch. 

This stitch is used to pad the satin stitch in embroidery work, 

to outline the stems and leaves of designs in embroidery, also for 

general outlining of figures in art needlework. 

THE CHAIN STITCH. 

Paragraph 126. The chain stitch is rather simple consisting of 
continuous loops which give the finished line of stitches the appear- 
ance of a chain. To make this stitch, tie a knot in the thread, bring 
the needle through from the 
under side of the cloth so as 
to conceal the knot. With the 
thumb of the left hand hold the 
thread in a loop, take a small 
stitch forward allowing the 
needle to come out over the 
thread as shown in Figure 26. 
Pull the needle through draw- 
ing the thread just tight enough 
to form a neat "link." 

For the next stitch, hold the 
loop of thread down as before 
and starting the point of the 

needle just inside the last "link" (just where the thread comes out), 
take another forward stitch (over the loop) thus forming the next 
link. Continue this process making all the stitches exactly the same 
length and drawing them equally so as to form an even chain. 

The chain stitch is used for simple decoration. 




Figure 26. 



322 



SEED STITCH. 

Paragraph 127. The seed stitch is a very simple ornamental stitch 
consisting of small backstitches (Par. 107). To make the stitch, the 
knot is tied and left on the under side, or two or three stitches may be 

taken over each other to fasten 
the thread, then make the first 
row of backstitches, with small 
spaces between them, follow 
the outline of the design; the 
second row of stitches should 
be so placed that they alternate 
with the stitches in the first 
row. See Figure 27, 

The thread is fastened at the 
end with two or three small 
stitches. 

The seed stitch is often used 
as a substitute for French 
knots (Par. 130) and for filling in the centers of leaves and other 
designs in embroidery work. 




Figure 27. 



BLANKET STITCH, LOOP STITCH OR SINGLE BUTTONHOLE 

STITCH. 

Paragraph 128. The blanket stitch consists of even parallel 
stitches on the edge of material so looped as to cause a continu- 
ous line of thread to lie along the extreme edge of the goods. 
To do this, fasten the thread by 
inserting the needle about V4" 
from the edge of the material, 
and taking two or three running 
stitches to the edge, insert the 
needle again where the first 
stitch was taken and bring it 
out under the edge of the cloth 
over the loop of thread as shown 
in Hgure 28; this will cause the 
first blanket stitch to fall so as 
to hide the running stitches first 
taken. About V4" to the right, 
insert the needle in the cloth 
again making it exactly even Figure 28. 




323 




Figure 29. 



with the first stitch; bring it 
through under the edge of the 
material over the loop of thread 
as in the first stitch. Repeat 
until the edge is completely 
blanket stitched. In turning 
the corners take three stitches 
in one hole, making the stitches 
Hare around the corner. In 
finishing the stitch fasten the 
thread by taking two or three 
running stitches under the last 
vertical stitch, as in Figure 29. A new thread may be started in just 
the same way that the beginning thread was started except that the 
running stitches are taken under the last blanket stitch made, so it is 
not necessary to make another stitch over them. 

These stitches may be worked close together and used in making 
a scalloped or embroidered edge. They may be varied in width by 
making one long stitch with one shorter stitch on each side of it 
or by following the curves of the scallops. 

The blanket stitch is used to finish raw edges. It is particularly 
desirable for finishing the edges of white flannel jackets and capes 
for infants. Worked with yarn, it is used to finish the edge of com- 
forters. It is sometimes used in working buttonholes, but since it 
does not make as strong an edge as the regular buttonhole stitch it 
is not desirable. 

THE COUCHING STITCH. 

Paragraph 129. The couching stitch is made by sewing a heavy 
cord neatly in place on the lines of a design; the design should be 
drawn on the material before the 
couching work is begun. The 
cord usually consists of several 
strands of floss twisted together. 
To make the couching stitch, 
tie a knot in the thread, insert 
the needle from the under side 
of the cloth so as to conceal the 
knot. With the thumb and finger 
of the left hand hold the cord 
in place and bring the needle 
through to the right side of the 
cloth very close to and above 
the cord. See Figure 30. Figure 30. 




324 

Set the needle forward slightly, insert the point just under the cora. 
and take a slanting stitch, about 1/4" long into the material; this will 
cause the stitch to surround the cord and hold it in place. These 
stitches should be evenly taken so as to form part of the decoration. 
Again bring the needle through just over the cord and continue until 
the cord is completely sewed in place. Fasten the thread on the 
wrong side by taking three or four small stitches over one another so 
that they will not show on the right side. 

This stitch is used in sewing braiding or the rope floss on sofa 
pillows and tablecovers or for other purposes for which this sort 
of decoration would be suitable. 




Figure 31. 



MAKING FRENCH KNOTS. 

Paragraph 130, The French 
knots consist of artistic knots 
or bunches of thread arranged 
on the surface of material for 
decorative purposes. 

To make the French knot, tie 
a knot in the thread and bring 
the needle through from the 
under side of the cloth, hold the 
needle horizontally with the 
thumb and forefinger of the 
right hand and with the left 
hand wrap the thread nearest 
the cloth around the needle two 
or three times according to the 
fineness of the thread and the 
size of the knot desired. See 
Figure 31. Hold the thread in 
place on the needle while you 
insert the point of the needle 
in the cloth again, very close 
to the place where it came 
through, still holding the thread 
tight, see Figure 32. Push the 
needle through the cloth to the 
wrong side and draw the thread 
through until it fastens the 
bundle of loops onto the cloth 
in a knot form. Set the needle forward under the cloth to the place 




Figure 32. 



325 




Figure 33. 



desired for the next knot and repeat. When all the stitches are fin- 
ished bring the needle to the under side of the cloth and sew over the 
last stitch three or four times to fasten the thread. 

THE SATIN STITCH. 
Paragraph 131. The satin stitch consists of over and over stitches 
taken very close together so the threads will lie one against the other. 
When the satin stitch is to be made with fine thread the design is 

usually padded, that is, the in- 
side portion or ground work of 
the design is filled with rows 
of running, etching or chain 
stitches, to give a rounded ap- 
pearance to the finished work. 
The beauty of the work de- 
pends much upon the evenness 
and closeness of the stitches. 
Before undertaking to make 
this stitch study carefully Fig- 
ure 33, which shows the top 
leaf in the design completed, 
one simply outlined, and the 
next one two-thirds padded and partially satin stitched. To make this 
stitch, fasten the thread by taking two or three running stitches under 
the padding on the wrong side, then bring the needle through to the 
right side of the material on the line at the left-hand side of the bot- 
tom of the design. Insert the needle on the opposite side of the design 
bringing it through on the line very close to where the first stitch came 
through; allow the thread to fall smoothly over the design; see Figure 
33. Repeat, simply sewing over and over keeping the stitches very 
close together. It will be necessary occasionally to take the thumb 
of the left hand and smooth the stitches. The beauty of this stitch 
lies in its satiny appearance when completed. 

This stitch is used for embroidery work. Made with fine thread 
it is called French Embroidery, and is used on dainty waists, lingerie 
and baby garments. Made with coarser thread, it is used in a great 
variety of designs, to decorate sofa cushions, table runners, heavy dress 
materials and any material which is embroidered with coarse thread. 

LAZY DAISY STITCH. 
Paragraph 132. The lazy daisy stitch is simply a loop of thread 
fastened with a running stitch at the top. It is worked over a design. 
To make this stitch fasten the thread by taking two or three tiny 



326 



/ 




Figure 34. 



stitches one over the other on the under side of the material and bring 
the needle through at the center of the design. Insert the needle again 
very close to the point where the thread just came out, thus forming 
a loop of thread on the right side of the material ; draw this loop down 
until it is just long enough to cover the ellipse or design marked on the 
cloth. Without pulling the loop any closer, bring the needle up 

through the cloth at the outside edge 
of the design. Allow the needle to 
pass through the loop previously 
made, and draw the thread down 
carefully to fit the design; fasten 
this loop in place as shown in Fig- 
ure 34, by inserting the needle again 
just outside of the top of the loop 
thus making a short running stitch 
over the loop. Bring the needle up 
again at the center of the design, 
and repeat until all the loops have 
been worked. Fasten the thread on 
the under side by taking two or 
three stitches over and over. The center of the design is usually 
filled with French knots (Par. 130) or with the seed stitch (Par. 127). 
The lazy daisy stitch is used in fancy work. It is an attractive 
stitch as it is generally worked in colors; it is used principally in 
making leaves or the petals of llowers like the daisy. 

SEWING ON HOOKS. 

Paragraph 133. In sewing on 
hooks and eyes, the hooks are 
usually sewed on first. Place 
the hook in the position de- 
sired, setting it back from the 
edge of the hem at least Vs". 
Knot the thread and insert the 
needle about ^2" from the 
hook; bring the needle through 
between the two thicknesses of 
cloth and bring it up inside of 
one of the eyelets of the hook; 
sew over and over this eyelet 

until it is well filled with 

Figure 35. 
stitches; fill the opposite eyelet 

in the same manner. See F'igure 35. Slip the needle between the two 




327 

thicknesses of the material to the end of the hook and sew over and 
over, under the curve of the hook until it is securely fastened. Insert 
the needle in the material near the hook and bring it out between the 
two thicknesses of the cloth about ^2 " distant. This leaves about ¥2" 
of thread in the cloth which will be sufficient fastening for the stitches. 
A neater and firmer, but more difficult way of fastening on hooks 
and eyes is to buttonhole around the eyelets as shown in Figure 36. 




Figure 36. 



SEWING ON EYES. 

There are two kinds of eyes 
that may be used with the 
hooks, one curved and the other 
straight. The curved hook is 
used on fitted dress linings and 
should be sewed on as in Fig- 
ure 36, letting the eye extend 
beyond the hem the same dis- 
tance that the hook has been 
set in from the edge of the op- 
posite side. Sew around the wire 
loops in the eye just as you did 
the hook. Sew over and over 
the loops of the eye on each 

side to hold it firmly in place. Fasten the thread at the beginning and 

end the same as in sewing on the hook. 

To sew on a straight eye, place it in the proper position opposite 

the hook as in Figure 35. Sew around the loops with the same kind 

of stitch used in sewing on hooks. 

SEWING ON SNAPS. 



Place the smaller part of the 
snap on the upper edge of the 
hem being careful that the little 
projection in the snap is placed 
out. Sew over and over the 
outer rim in the small holes 
made for this purpose. In sew- 
ing on the under part of the 
snap, be careful to set it so as 
to receive the other portion of 
the snap correctly. A good way 
to insure its being exactly right 
is to keep the snap together un- 
til you are ready to sew it on, 



^R^^^ 


m^ 


^^K- 


'*^'% I 




ft /^'I'^H 




^^■^"-'T^' ^ '^^^^^1 



Figure 37. 



328 

unsnap it to sew on the upper part. See Figure 37. Snap it again, 
hold the material in the position which it will take when the snaps are 
closed; unsnap it without removing it and sew it securely in place. 
Hooks and eyes are used any place in a garment where an open- 
ing is to be kept invisibly closed. The hooks and eyes used on skirt 
bands should be large; those used on thin dress materials should be 
small. They should harmonize in color with the material used, that 
is, the white ones should be used on light material and black ones on 
dark material. Snaps are also used on plackets and on any openings 
in a garment where there is little strain. 



FORMING A LOOP. 

Paragraph 134. A loop to serve the same purpose as a steel eye 
may be formed of thread. It should be made in the exact place where 
you would sew on a steel eye to receive the hook. Tie a knot in the 
thread, insert the needle on the upper side of the cloth about Vz" from 
the place where you are to form the loop. (When the loop is com- 
pleted cut off the knot.) Bring the needle up through the cloth and 
take about four or five stitches over one another (the number of 
stitches may be varied according to the size of the thread), make 
them the same length that you desire the loop; this will depend on 
the size of the hook. As these loose threads would not make a very 
satisfactory loop to receive the hook, they must be securely bound 
together or "worked" as it is usually called. 

To work the loop begin at 
the left-hand end of the loop 
of threads and fill them with 
blanket or loop stitches (Par. 
128). As the point of the needle 
would be likely to catch in the 
cloth, you may use a blunt one, 
or turn it so the eye will pass 
under the loop first, as shown 
in Figure 38. To fasten the 
thread, bring the needle through 
to the wrong side of the cloth 
at the end of the loop, and take 
two or three stitches over one 

Figure 38. ,, 

another. 

The loop is used as a substitute for the steel eye on lace yokes, 

plackets or other openings in sheer cotton materials, also for silks or 

even woolen garments where the steel eye is likely to show. It 




329 




Figure 39. 



should be made with thread to match the color of the material on 
which it is worked. 

SEWING ON BUTTONS. 

Paragraph 135. Fasten the thread by taking two or three small 
stitches on the under side of the material or, if a knot is used, insert 
the needle about ^o" away and running it between the thicknesses of 

cloth bring it up at the place 
where the button is to be sewed. 
A button should have a shank 
of thread under it to raise it 
from the goods. Such a shank 
may be made by slipping a pin 
under the threads and sewing 
over it in the manner shown 
in No. 3, Figure 39. 

If the button has only two 
holes as shown in No. 1, Figure 
39, bring the needle up through 
one of them and down through 
the opposite one, then slipping 
a pin under the thread continue in the same manner until the holes 
are filled with thread. If the button has four holes, bring the needle 
up through one of them, down through the second, up through the 
third and down through the fourth, slip the pin under the threads as 
in No. 3, Figure 39, and continue in the same manner until the holes 
are filled. (Sometimes the stitch is crossed by sewing diagonally 
from the first to the third hole and from the second to the fourth, but 
this method is not usually considered as neat as the method shown 
in No. 2, Figure 39.) 

When the button is securely fastened, remove the pin and wrap 
the thread several times around the loose threads under the button. 
Fasten the thread by running the needle through to the wrong side 
and making two or three small stitches, one over the other. Nos. 1 
and 2, P'igure 39, show a two-holed and four^holed button completely 
sewed on. 

A button with a cotton shank is sewed on by sewing through the 
shank then through one or two thicknesses of the material, without 
sewing entirely through the garment. In sewing buttons on tailored 
garments the thread is not carried entirely through the material. On 
heavy material where the buttons are to have hard wear, they should 
be sewed on with coarse thread. The thread is sometimes waxed to 
make it stronger and to make it lie in the button smoothly. 

Shoe buttons are often fastened on with steel fasteners, but some- 



330 

times it is necessary to sew them on at home; extra heavy linen 
thread should be used making an over and over stitch as shown in 
No. 4, Figure 39. 

MAKING BUTTONHOLES. 

Paragraph 136. A buttonhole is a slit made in at least two thick- 
nesses of material finished with the buttonhole stitch, to receive a 
button. The hems of thin material are sometimes interlined to give 
them more body before working buttonholes in them. The two thick- 
nesses of heavy material are often basted together and two parallel 
rows of machine stitching or running stitches are made around the 
place where the buttonhole is to be. The buttonhole is cut inside the 
stitching. Lace may be strengthened by basting a piece of lawn under 
the place where the buttonhole is to be and trimming it off close to 
the buttonhole after it is worked. Dried glue if moistened and rubbed 
on both sides of wiry material in the place designed for the button- 
hole and allowed to dry again will enable one to cut and make a 
much neater buttonhole on this sort of material. 

Placing the Buttonhole. 

Buttonholes are usually placed about Vi" from the edge of th& 
material, the distance apart depending upon the strain, the kind of 
buttons used, and the prevailing style. Where there is much strain on 
them they should be cut at right angles to the edge of the material,, 
but they may be cut parallel with the edge in the pleat of a tailored 
shirt waist or the placket of a sleeve, or any place where there is little 
strain. The buttonholes are generally placed on the right-hand side 
of the opening in ladies' garments. 

There are two kinds of buttonholes, the light buttonhole (used 
in light weight material) and the heavy buttonhole (used in heavier 
material like coats and suits, and on the bands of children's garments, 
or where there is likely to be considerable strain). The light button- 
hole is simply overcast and worked with the purling or buttonhole 
stitch. The heavy buttonhole is stranded, overcast and worked with 
the buttonhole stitch. Directions are given here for the heavy button- 
hole only, because the steps in the light buttonhole are the same 
omitting the stranding. 

In making the buttonhole the first thing to consider is cutting it. 
It may be cut with buttonhole scissors, or with ordinary scissors. 
A buttonhole should be cut on a thread of the cloth to avoid raveling 
and unevenness on the edge. Accurate measurements should be made 
before cutting each buttonhole, to make sure they are all equally 
distant from the edge. The buttonhole should be cut large enough 



331 

to receive the button for which it is intended. By cutting one button- 
hole at a time, and working it before cutting another, raveling of the 
raw edges may be avoided. 

To Cut a Buttonhole With Buttonhole Scissors. 

Set the buttonhole scissors and make a trial cut on a separate 
piece of material; test it with one of the buttons which you intend to 
use, reset the scissors if necessary. When the scissors are properly 
set, cut a buttonhole carefully on the thread; keep the buttonhole 
scissors set in the same position until all the other buttonholes are cut. 

To Cut a Buttonhole With Ordinary Scissors. 

When the buttonhole is to be placed across a hem, measure the 
diameter of the button and, using a pin to mark the front end, place 
a second pin to indicate where the back end of the buttonhole should 
be, then fold the hem lengthwise and cut a small slit (crosswise) 
in which to insert the point of the scissors; open the hem and cut 
on the thread first to one pin, then to the other. When the button- 
hole is to be placed vertically on the hem, mark the ends with a pin, 
fold the hem crosswise and cut to the pins as already explained. 




Figure 40. 



332 

Stranding the Buttonhole. 

Buttonholes are stranded by taking two long running stitches 
over each other as close to the edge as possible (beginning at the back 
end and lower edge); two short backstitches should be taken at 
each end of the buttonhole as in No. 1, Figure 40. As the stranding 
process adds considerable difTiculty it is often omitted. 

Overcasting the Buttonhole. 

After stranding the buttonhole, begin at the lower edge of the 
back end and overcast the edges, making very shallow stitches (about 
three threads deep, just covering the strands) about V^" apart. See 
No. 2, Figure 40. When the buttonhole is overcasted you are then 
ready to finish it with the regular buttonhole stitch. You should con- 
tinue this work without breaking the thread used in overcasting. 

To Work the Buttonhole. 




Figure 41. 



Figure 42. 



To make this stitch, hold the raw edge of the buttonhole over the 
forefinger of the left hand, insert the point of the needle through the 
buttonhole (at the back end) bringing the point through toward you 
four or five threads below the edge of the buttonhole. From right to 
left bring the doubled thread from the eye of the needle around the 
point of the needle as shown in Figure 41 ; draw the needle through, 
forming a purling stitch on the edge of the buttonhole as shown in 
Figure 42. Working from right to left, take the next stitch in the 
same manner, making it the same depth and very close to the first 
stitch. Continue across the buttonhole. When you come to the front 
end of the buttonhole, it may be fanned by Haring the stitches as 



333 

shown in No. 3, Figure 40, taking about seven stitches to form the 
fan (if desired a barred or straight end may be made as shown in No. 
4, Figure 40); continue the work on the other edge. The back end 
may be either barred or fanned like the front end. Fasten the thread 
by slipping the needle through the first purling stitch, carrying it 
under two or three buttonhole stitches. When working the button- 
hole it is difficult to introduce a new thread, so care should be taken 
to have the thread long enough (about 27") to work the entire button- 
hole. However, if the thread breaks or is too short, fasten the new 
thread as in beginning to work a buttonhole, bring the needle 
up through the last purling stitch and continue to work the buttonhole. 

To Bar the End of a Buttonhole. 

The back end of a buttonhole is often finished with a bar as 
shown in No. 5, Figure 40. To do this, when you have finished 
working the second edge of the buttonhole, slip the needle through 
the first purling stitch, drawing it up close to the last stitch, then 
slipping the needle under the edge of the buttonhole, bring it out 
close to the bottom of the first stitch. Insert it at the bottom of the 
last stitch and sew over the end of the buttonhole three or four times. 
Work over these threads (with the buttonhole or loop stitch), catch- 
ing the needle in the material and turning the purl toward the but- 
tonhole. Fasten the thread with two or three running stitches on the 
wrong side. 

The buttonhole with the bar at each end is frequently used in 
vertical buttonholes. They are sometimes finished with a fan at 
each end as shown in No. 6, Figure 40. No. 7 shows a heavy button- 
hole. 

FRENCH SEAM. 

Paragraph 137. A French seam is one very commonly used, in 
which the raw edges are sewed together and turned inside the final 
sewing. Baste together with a %" seam using even basting (Par. 103), 
sew about i/s" to 14" outside of the bastings so as to allow for the second 
seam. Trim off the extra material, as in No. 1, Figure 43, to within 1/16 " 
or Vs" of the stitching (this depends on the fineness of the material 
and the width of the seam desired). Press the material flat along the 
line of stitching, turn it wrong side out and carefully press a new 
seam, thus turning in the raw edges (the material will then be folded 
over as shown in No. 2, Figure 43), baste with even basting (Par. 



334 













1 

i 


ml ^^^^^^^^H 






■■■J" "" 



Figure 43. 

103) and stitch from y%" to Vk" from the edge; or if the seam is made 
by hand, sew it together with the combination stitch (Par. 108). 

This seam is used to join the seams of underskirts, princess 
slips, night gowns, shirt waists, lingerie waists and light weight wash 
dresses. 

THE FELLED SEAM (HEMMED). 

Paragraph 138. The felled seam is a very tlat seam made by 
turning in and hemming, or stitching flat, one overlapping edge of a 
seam. It is made as follows: Baste and stitch the material with the 
machine, or sew with the combination stitch, on the wrong side; 
trim off the raw edges to the width desired, from 3/16 " on fine under- 
wear, to %" on tailored skirts. Trim one edge of the seam to within 
about Vs " of the stitching; with its raw edge slightly turned under, 
turn the wider edge over toward the trimmed edge. Baste neatly 
in place, being careful that the seam lies perfectly flat. See No. 1, 
Figure 44. Sew in place with fine hemming stitches (Par. 114). 



The Stitched Fell. 

This seam is made the same as the hemmed fell except that the 
second edge is stitched as shown in No. 2, Figure 44, instead of being 
hemmed in place; it is sometimes made on the right side of a 
garment. 



335 




Figure 44. 

The felled seam is used any place where a flat seam is desired. 
It is particularly desirable in under garments, like drawers and 
combination suits. Any garment which is worn next to the skin 
should be finished with this seam. 



Paragraph 139. 



LAPPED 
The lapped 




Figure 45. 



SEAM. 

seam is a very strong smooth 
seam which lies perfectly flat. 
Its strength is due to the fact 
that it is sewed with two rows 
of stitching. It is made on the 
right side of the garment. To 
make this seam, turn up the 
edge of one piece of the ma- 
terial about Vs" and turn down 
about Ys" on the edge of the 
piece to which it is to be joined. 
Lap the two seams Vi" to Vo", 
as desired, baste them together 
down the center. If they are 
fitted, it will be necessary to 
turn in the edges according to 
the line marked in fitting. 
Stitch on the right side, as in 
Figure 45, stitching close to the 



336 

edge ol Ihe material placed on top. Stitch as near the edge of the 
other as you can from the right side, but be careful to keep the two 
rows of stitching parallel, even though the second row^ does not 
stitch the edge of the under lap as evenly as it does the upper one. 
This seam is used principally in finishing the seams of tailored 
garments. 

OVERCAST SEAM. 




Figure 46. 

Paragraph 140. The overcast seam consists of an ordinary seam 
with the raw edges overcast to prevent raveling. To make this seam 
baste (Par. 103) and sew^ two edges of the cloth in a seam, on the 
wrong side, the width desired. 

Press open the raw edges and overcast each edge separately as 
in No. 1, Figure 46, or leave the two edges together and overcast both 
at the same time, as in No. 2. This seam is used on heavy linen, 
wool, and silk materials where it is desirable to have the seam show 
as little as possible. 

GATHERING. 

Paragraph 141. Gathering is a very common process in sewing. 
It consists of running stitches drawn through the material tightly 
enough to produce a fullness which may be evenly divided when it 
is sewed on another piece of material. Gathers are generally placed 
V4" to V2" from the edge of the material. Fasten the thread by 
sewing over a short stitch two or three times. Fill the needle with 



337 




running stitches; when the 
needle is filled with stitches do 
not remove it from the cloth, 
but as you take up more 
stitches, push the extra ones 
off the back of the needle onto 
the thread, as in Hgure 47, con- 
tinuing until the cloth is gath- 
ered. To fasten the gathers 
until you are ready to sew them 
on another piece of material, 
put a pin across the stitches, 
vertically, and wrap the re- 
maining thread around the pin 
a number of times to keep the gathers from slipping off the thread. 
Stroking the gathers (as our grandmothers did) makes them lie 
in small pleats. This method is not used as much now as formerly. 
However, practically the same results can be obtained if you draw 
the gathers up tight on the thread, wTap the thread around a pin to 
hold the gathers in place, then (with the thumb and forefinger of the 
left hand holding the cloth above the gathers) hold the cloth below 
the gathers with the right hand and pull the gathers out straight 
and pinch them tightly with the left hand. When you are ready to 
sew them to another piece of material loosen the gathers until they 
fit the place for which they are intended. 



Figure 47. 



GATHERING ON TWO THREADS. 

Make the first row of running 
stitches just as stated above, 
without drawing up the gath- 
ers. Make a second row of run- 
ning stitches about i/4" below, 
with each stitch directly under 
the stitch in the first row. Draw 
the two threads and adjust the 
gathers, as desired. See Figure 
48. The two rows of stitches 
will hold the cloth in little 
pleats without stroking or 
pinching. 

Gathering may be used any 
place where one piece of a garment is to be set on another piece with 




Figure 48. 



338 

dullness, as in setting a full skirt on a band, ruffles on dresses or 
underwear, or fulling the top of a sleeve into an arm hole. 




Figure 49. 



SETTING GATHERS ON A BAND. 

Paragraph 142. After care has been taken to give the gathers an 
even pleated effect, they should be sewed carefully to the band, or 
to whatever part of the garment they are to be attached. Before 

drawing up the gathers the ma- 
terial should be di\ided into 
halves or fourths, according to 
the length of the strip which is 
to be gathered. If there are to 
be comparatively few gathers, 
divide the material in halves. 
If there is to be a long strip 
of gathers, divide the material 
into fourths and mark each di- 
vision with a pin set in ver- 
tically. Then divide the band 
or edge of the garment to which 
the gathers are to be sewed 
into the same number of divis- 
ions. Pin the materials together where they are divided. Gather the 
material in each division on a thread, adjust the gathers and fasten 
the extra thread around a pin and baste the gathers carefully on that 
division with very small stitches. See Figure 49. Continue until 
«ach division is gathered, then stitch the gathers on to the material 
with a sewing machine, or with the combination stitch, being careful 
1o sew on the line of gathering. Very satisfactory gathering may 
he done on the machine. You should study the method of using the 
attachments for the particular kind of machine which you have at 
Tiome. 

CUTTING BIAS STRIPS. 

Paragraph 143. There are two kinds of bias strips, true bias and 
untrue bias. A true bias is cut at an exact angle of 45 degrees by 
folding the warp threads of the material over on the woof threads 
and cutting on the diagonal formed. An untrue bias may be cut at 
.any angle smaller or greater than the perfect diagonal. Bias strips 
are sometimes cut by folding the material in such a way as to cut 
through several thicknesses at a time; this method is rapid, but not 
so accurate as the method just given. 



339 

Bias strips are used to face curves, to bind seams, to finish the 
raw edges of embroidery ruffles, in place of embroidery insertion, 
to finish embroidery beading on the edges of corset covers, as 
piping for dress trimming and in a variety of other ways. 

JOINING BIAS STRIPS. 




Figure 50. 

Paragraph 144. Be sure the ends to be joined are cut on the bias; 
lay these ends together so the threads will run parallel (the strip 
will thus form a V shape), allowing the points to extend over each 
edge as shown in No. 1, Figure 50. Stitch together being careful 
to do it just as shown in the illustration. Straighten the strip, and 
press the seam open as shown in No. 2; trim off the points even 
with the edges thus forming a straight continuous strip as shown 
in No. 3, Figure 50, 

SQUARING A CORNER. 

Paragraph 145. Where the hems on the corners of adjoining 
edges cross, the neatness of the work may be improved by cutting 
away some of the extra thicknesses. This may be done by squaring 
the corners so as to leave the ends of the hems square. To do this, 
after the hems are folded, crease the hems at one corner sharply as 
shown in No. 1, Figure 51, and with a pin mark the place on the 
under hem where the edge of the upper hem folds over it. Unfold the 
upper hem and cut out an oblong piece from the under hem about V4" 



340 



_. 


^^|_ 








1 


f 

f\ 
,- I 

4 




1 


'■—« 3 


1 



Figure 51. 

from the edge, as in No. 2. Fold the hem in place again, as in No. 'S, 
and finish with hemming (Par. 114) or hemstitching (Par. 115) as 
desired. 

MITERING A CORNER. 

Paragraph 146. Where two hems overlap at a corner, it is often 
desirable to remove some of the extra thicknesses of material. 




Figure 52. 



341 

This may be done by mitering the corner. To do this, lay the hem 
the width desired, fold and crease in place. The corner will form a 
square, as in No. 1, Figure 52. Keeping the hems creased, lift the 
corner of the material and pull it up until it forms a V, as in No. 2, 
Figure 52; crease sharply on the diagonal lines thus formed. Cut 
this piece off slightly above the crease (allowing Vs " above crease for 
turning under the raw edges) so the ends of the seams will meet at 
an angle of 45 degrees, thus forming a perfect mitered corner. Turn 
under the raw edge of the upper hem and fold it over the other one, 
making it form a perfect diagonal across the corner, as in No. 'S, 
Figure 52. Baste in place with even basting (Par. 103) and hem 
neatly (Par. 114). 

MITERING A CORNER OF LACE. 




Figure 53. 



Paragraph 147. In sewing on lace around a corner it is necessary 
either to gather the lace on the inside edge sufficiently to keep it 
from drawing on the outer edge, or to remove this fullness by miter- 
ing. Lace may be mitered at almost any angle, but since the methods 
are so similar, directions are given here only for a square corner. 
To do this, draw one edge of the lace together until a square corner 
is formed on the oposite edge, leaving a triangular piece extending 
the same as in mitering a corner of material explained in Paragraph 
146. When this triangular piece is cut off', the edge of the lace will 
form a perfect miter, or an angle of 45 degrees. Before cutting off 



342 

this triangular or V shaped piece, baste the lace together along the 
diagonal line running along one edge of the V to the corner; trim 
the lace to within 1/16" of the basting and buttonhole (Par. 136) the 
edges together on the wrong side, as shown in Figure 53. 

Another very satisfactory way to do this is to buttonhole along 
the line of basting threads on the wrong side and trim off the lace 
close to the buttonhole stitches. This method makes a narrower seam 
than the first. 

Lace may be mitered any place where it is sewed around a corner, 
as in handkerchiefs, collars, square table covers or dresser scarfs. 
The fullness in the edge of the lace in lace yokes is often removed 
by mitering. 

JOINING LACE. 

Paragraph 148. It is often necessary to splice a piece of lace. An 
ordinary seam would show^ plainly and mar the appearance of the 
work. Lace may be spliced so the joining will show but very little. 
To do this, place the ends to be joined so the pattern exactly matches; 
on the wrong side, buttonhole from one edge of the lace to the other 
on a diagonal thread. If necessary follow the pattern of the lace 
wath the buttonhole stitch. Trim very close to the buttonhole stitches 
on both the right and the wrong sides. 

HEMMED OR SET-ON PATCH. 

Paragraph 149. A hemmed, or set-on, patch consists of a piece 
of material (with the raw edges turned under on all sides) sewed 
over a hole in another piece of material. Before beginning to mend 
the hole, trim away all the worn material around it, preferably along 
the warp and woof threads of the material. If the material is un- 
figured it is sometimes desirable to make the patch circular (as in a 
corset cover) or triangular if the hole is three-cornered. If the hole 
is longer than it is wide the patch should be made oblong; a three- 
cornered tear on figured material can be mended more neatly with a 
square patch than with a triangular one as it is usually difficult to 
match figures along a diagonal. To make a patch show as little as 
possible, it is necessary to match the figures in it very carefully with 
the figures in the garment. If possible, select for the patch a piece of 
material that has been worn as much as the garment, because a new 
patch set into a worn garment shows plainly. A new piece of material 
may be washed and hung in the sun to fade if there are no worn 
pieces on hand. 



343 




Figure 54. 

and turn back the edges about 
^A " all the way round (turning 
the material on the thread). Be 
sure that no raw edges are left 
at any of the corners. Place the 
right side of the patch on the 
under side of the opening, see- 
ing that the figures in the patch 
exactly match the figures in the 
material. Pin the edges of the 
opening to the patch in several 
places, baste carefully with 
even basting (Par. 103) and 



Figure 54 shows a hole torrr 
in a piece of cloth as it might 
be snagged in a garment; Fig- 
ure 55 shows the torn portion 
cut away to a strong place in 
the material. The opening in 
this case is cut about square; 
Figure 56 shows the completed 
patch in which you will notice 
the checks in the patch exactly 
match the checks in the material. 

To set-on such a patch, first 
cut away the frayed edges, then 
make a small diagonal cut into 
each corner of the open square 





Figure 56. 



Figure 55. 

sew with fine hemming stitches 
( Par. 114), (A patch on a kitch- 
en apron or a garment that re- 
ceives a great deal qf hard wear 
might be stitched along this 
edge with the sewing machine.) 
To finish the wrong side of 
the patch (as the outline of the 
edges will show on the right 
side, trim them evenly), turn 
under the raw edges on a 
thread all the way around: 
baste in position; hem neatly 
in place. Remove the bastings 
and press the patch. 



344 



OVERHAND OR SET-IN PATCH. 



Paragraph 150. The over- 
hand, or set-in, patch consists 
of a piece of material (with its 
raw edges folded back on all 
sides) set into another piece of 
material. 

To make this patch, cut away 
all of the worn material, pre- 
ferably along the warp and 
woof threads, leaving an ob- 
long or square opening. Select 
a piece of material for the patch 
as nearly as possible like the 
garment to be patched. Match 
the design carefully, laying the 
patch on the wrong side of the 




^^^1 


■ 


I 


■ 


1 


1 


■ 


<« 




f 




■ 


r 


<> 




« 


■r 


* 


1 




« 


■^ 


«< 




* 




*• 


■ 


1 


')t 


■«* 


* 


t 


«, 


1 


■ - 




■r 




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1 


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■ 



Figure 58. 

of the opening together with 
very shallow stitches as in Fig- 
ure 57; sew well into the cor- 
ner, then turning the material 
half way round, fold the second 
edge of the patch to match the 
figure along the second edge of 
the opening and overhand 
along this edge as you did the 
iirst. Continue folding the 
patch and overhanding the 
edges together until all four 
sides of the opening have been 
overhanded to the patch, as in 
Figure 58. 



Figure 57. 

material with the right side 
turned toward the right side of 
the material. Make small diag- 
onal cuts in the corners of the 
hole and turn the edges back 
on a thread about i/4" all around 
the opening. Turn back the ma- 
terial along one edge of tht 
patch (follow a thread if pos- 
sible), where the design exactly 
matches the design in the torn 
place. Beginning a little way 
from one corner, overhand the 
edge of the patch and the edge 




Figure 59. 



345 



The patch may be overhanded on the wrong side, but this method 
makes it much harder to match the figures. The under side of the 
patch should be finished neatly. To do this trim the under edges of 

the material until they are ex- 



wide. Overcast all the edges 
with neat overcasting stitches 
(Par. 113). See Figure 59. 

This patch is not as strong 
and serviceable as a set-on 
patch, for it is joined to the 
opening with only one seam 
and the corners are held merely 
by a single thread. It may be 
used very satisfactorily, how- 
ever, on thin goods like lawn, 
organdie, dimity or other very 
light materials in garments 
which are laundered only oc- 
casionally. 

THE WOOLEN PATCH. 

Paragraph 151. The material 
with the hole in it, as shown in 
No. 1, Figure 60, is a part of a 
boy's pocket which had worn 
through because of the load of 
marbles carried in it. The patch 
used to mend it is made the 
same as the hemmed patch pre- 
viously described, except that 
the wrong side is catch stitched 
(Par. 120) in place without 
turning in the raw edges. The 
material is cut away to a strong 
place, as shown in No. 2, Figure 
60, then a patch which matches 
the material as nearly as pos- 
sible is basted under the hole. 
The diagonal stripes of the ma- 
terial should be matched care- 
fully, the corners of the open- 




Figiirt' (10. 



346 

ing cut in slightly, the edges turned in, basted and hemmed in place. 
To finish the wrong side of the patch, trim the edges about %" from 
the hole and without turning under the raw edges, catch stitch them 
in place. In patching the seat or knees of a boy's trousers, or any 
place where there is likely to be considerable hard wear, it may be 
desirable to let the edges of the patch extend farther beyond the hole. 
If the material in the patch ravels easily, the edges may be turned 
under, and hemmed down. On material which does not ravel easily 
the patch may be basted on the wrong side of the material and the 
raw edges of the hole darned smoothly onto the patch; the wrong 
side of the patch is then finished as already described. 

The woolen patch is used in mending holes worn or torn in 
woolen garments in such a way that they cannot be darned, or mended 
satisfactorily with mending tissue. 





RIGHT SIDE 



W^RONG SIDE 



Figure 61. 

MENDING WOOLEN GOODS WITH TISSUE. 
Paragraph 152. When a woolen garment is torn and the edges are 
not badly frayed, and none of the material is out and gone, it may be 
mended very satisfactorily with mending tissue, a rubber-like material 
used by tailors. To mend the tear, turn the garment to the wrong 
side, place the mending tissue over the hole so it completely covers 
it and extends at least 1" beyond the edge of the hole on all sides; lay 
a patch the same size as the mending tissue over it as shown in wrong 
side view. Figure 01. As the patch does not show, it is not necessary 
to match the figures or even the material in the garment. (The mend- 
ing tissue has been allowed to extend from under the patch merely 
to show that it is there, this is not necessary in doing the work). Set 



347 

an iron (hot enough to melt the mending tissue, but not hot enough 
to scorch the material) on the patch; hold it there (perfectly still) a 
short time, turn the garment right side out and examine the repaired 
spot, it should be unnoticeable as shown in the right side view, Figure 61. 




Figure 62. 
DARNING WOOLEN GOODS. 

Paragraph 153. Oftentimes a tear in a garment can be darned 
more satisfactorily than it can be patched. No. 1, Figure 62, shows a 
three-cornered and a diagonal tear in a piece of woolen goods. No. 2, 
Figure 62, shows the same piece with the holes repaired by darning. 
In this kind of work a tear may be darned with thread raveled from 
the edge of a piece of the material (if it is strong enough) or with 
silk thread to match. 

To darn a straight tear, begin about V2' away and sew across it with 
fine running stitches (Par. 106) concealed in the cloth as much as 
possible; continue to sew about ^2 " on the opposite edge following thef 
weave of the cloth (sew over one edge and under the other). Inserting 
the needle very close to the last stitch, make a second row of running 
stitches very close to, and parallel with, the first row, going over the 
edge of the tear where you went under the first time. Continue in this 
manner until the tear is mended. Be careful not to draw the thread 
tight, as this will give a puckered appearance in the darn. If this 
work is carefully done it will be almost impossible to detect the darn. 
As a rule it is advisable to lay a piece of material ( the same as the 
goods in the garment) rn the under side of the tear before darning; it 
may be caught in place with the darning stitches thus making the darn 
more substantial. The raw edges of the patch may be catch stitched 
(Par, 120) in place or trimmed close to the darning. 



348 



DARNING A STOCKING. 

Paragraph 154. Stockings should be repaired as soon as a small 
hole appears in them, as a small hole is easily darned but a large one 
presents a difTicult task. Ordinary darning cotton is used to darn 
lisle and all kinds of cotton stockings. A finer mercerized darning 
cotton is used for silk hose. Figure 63 shows a ragged hole in a 
piece of stocking as it might be made by ordinary wear. Figure 64 
shows this hole trimmed ready to be darned; you will notice that 
the ragged edges have been cut away. 

After the ragged edges have 
been trimmed away as inuch 
as necessary, place the darner 
(an egg-shaped wooden ball 
or cardboard) under the hole 
and lay all the threads in one 
direction (shown in Figure 65) 
as follows: Beginning about 
lo" from the opening, take a 
few running stitches in the 
stocking, making the last stitch 
come over the edge of the hole; 
take a long stitch across the 
opening on the opposite edge 
continuing with running 
stitches in the stocking about 
y^" beyond the hole. Inserting 
the needle very close to the last 
running stitch make another 
row of stitches parallel with 
the first in just the same way 
(be careful not to draw the 
stitches tight enough to give a 
puckered appearance to the 
darn). Continue reenforcing 
the edge and running long 
threads across the opening un- 
til it is filled with threads as 
illustrated. Insert the needle 
at right angles to these threads, 
weave under one thread, over 
one thread across the threads first put in, taking a few running stitches 
into the edge beyond. To return, insert the needle very close to the 





Figure 64. 



349 



last stitch, take a few running stitches to the edge of tiie hole, weave 
back across as you did before. Continue weaving back and forth 

until the hole is filled with 
woven threads. In a very 
neat darn every thread is 
properly woven and the work 
is smooth and even without 
any puckering. This gives the 
hole the appearance of woven 
cloth as shown in the lower 
portion of Figure 65. 

NOTE: In this illustration 
white darning cotton was used 
in order that the stitches might 
show distinctly. In actual 
work use thread to match the 
stocking. 

Where a ribbed stocking has 
a run in it, it may be repaired by sewing over and over the run with 
thread to match. A silk stocking may have the dropped stitch cro- 
cheted back in place. A large hole in the knee of a child's stocking 
may be repaired with a hemmed patch (Par. 149) instead of a darn. 

CROCHETED CHAIN STITCH. 




Figure 65. 




Figure 66. 

Paragraph 155. The crocheted chain stitch is the foundation 
stitch in most crochet work. It consists of a series of loops drawn 
through each other in a continuous chain. The chain stitches in 
Figure 66, are made of yarn with a bone crochet hook. To begin 
the chain stitch tie an ordinary slip knot in the end of the yarn; 
insert the end of the hook in the loop and draw it down tight on the 
hook. With the crochet hook still in the loop, push the hook forward 



350 



and catch it around the loose strand of yarn (see Figure 66) and 
draw another loop through the one already on the hook. Continue 
drawing a new loop through the last one made until the chain of 
stitches is as long as desired. ( ch, st. is the abbreviation used in 
working directions for chain stitch; 1. is the abbreviation used for 
loop). 

Linen, cotton thread, or wool yarn are used in crocheting. A 
small steel hook is used for thread, a bone or amber hook for yarn. 
The directions given here for crocheting are very elementary. More 
detailed instruction, with a great variety of patterns, can be tound in 
books dealing especially with crocheting. 




Figure 67. 



SLIP STITCH CROCHET. 

Paragraph 156. The slip stitch, which interlocks other crochet 
stitches, is made by passing a hook through a completed loop and 
drawing the yarn through that loop before drawing it through the 
loop on the hook. The slip stitch in Figure 67 is made of yarn with 
a bone hook. First crochet a chain as long as desired, then go back 
over it, picking up each stitch and making a parallel line of chain 
stitches with all the stitches interlocked. To do this, hold the last 
loop of the chain stitch on the hook, insert the point of the hook 
through the next loop in the chain, and catching the yarn, as in 
Figure 67, draw it through the completed loop of the chain stitch and 
continue drawing it until it also passes through the loop which is on 
the hook. This forms a new loop on the hook; draw this loop tight 
and inserting Ihe hook through the next completed stitch, repeat the 
process until you have made the number of stitches desired. The 
abbreviation for the slip stitch is si, st. 



351 

This stitch is used in filet work, or any place where a solid 
crochet effect is desired and in fastening other crochet stitches 
in place. 




Figure 68. 

DOUBLE CROCHET. 

Paragraph 157. This stitch consists of a loop of yarn or thread 
drawn through a chain stitch forming two loops on the hook through 
which another loop is drawn. To do this, make the chain as long as 
desired, then crocheting back over the chain, insert the point of the 
hook through the next loop in the chain; draw a loop of loose yarn 
through this chain stitch, thus forming two loops on the hook. Catch 
the hook in the loose strand of yarn again, as in Figure 68, and draw 
another loop through the two loops on the hook, forming a new loop 
to begin the next double crochet. Continue as far as desired. The 
abbreviation for double crochet is d. c. This stitch is used in a 
great many kinds of crochet. 



TREBLE CROCHET. 

Paragraph 158. In treble crochet, there are three loops on the 
hook at one time instead of two loops, as in double crochet. These 
loops are drawn ofT the hook in groups of two. To make the treble 
crochet, chain stitch as far as desired, then working back over the 
chain stitch with the last loop of the chain on the hook, wrap the 
loose strand of yarn around the hook once. Insert the hook in the 
next loop of the chain and catching it in the loose strand of yarn draw 
a loop through the chain stitch, thus forming three loops on the hook; 
draw the thread just caught through the first two loops on the hook; 
this will leave two loops on the hook. Draw another loop of the yarn 



352 




Figure 69. 

through these two loops, leaving one loop on the hook ready to begin 
the next treble crochet. See Figure 69. Continue as far as desired. 

This stitch is used in crocheting where a wide stitch is desired, 
as in scallops. A half treble crochet is made by wrapping two threads 
around the hook, making four loops on the hook at one time. These 
loops are taken off the hook in groups of two with three stitches 
instead of two, as in treble crochet. 



PLACKETS. 

Paragraph 159. A placket is an opening left in a garment for 
convenience in putting it on, the raw edges being finished to keep it 
from tearing or raveling. Plackets are made in skirts, in the bottom 
of men's shirt sleeves and in the sleeves of ladies' tailored waists, for 
convenience in laundering. 

A skirt placket should be sufficiently long to allow the skirt to 
slip easily over the head. As a rule, 9" to 12" are allowed, depending 
on the size of the person wearing the skirt and the fullness of the 
skirt, that is, the smaller the person or the narrower the skirt, the 
shorter the placket may be. Generally in a skirt, the upper end of 
a seam or pleat is left open for the placket, although in a gathered 
skirt or the bottom of a sleeve the opening is usually cut in the ma- 
terial. When the placket finishes the opening at the top of a seam, 
or pleat, it should appear to be a continuation of the same. A placket 
should open from right to left. It is usually held together with 
hooks and eyes, or snaps, the hooks and small parts of the snaps 
being sewed on the right side, the eyes and large parts of the snaps 
on the left, or under side. 



353 
HEMMED PLACKET. 













1 


2 


^ 













Figure 70. 

Paragraph 160. The hemmed placket consists of a lengthwise 
opening finished with a wide hem on the right edge lapped over the 
left edge wliich is finished with a narrow hem. To make this placket 
(Par. 159), if there is no opening, make a cut the length desired being 
careful to cut on a thread. After the opening is made, lap the right- 
hand edge over the left-hand edge about %" and crease the fold 
formed. Turn in the raw edge, forming a hem about %" wide; baste 
with even basting and sew in place with the hemming stitch (Par. 
114). The under side of the placket is simply a narrow hem turned 
toward the wrong side of the cloth. Make this hem about 3/16" wide 
at the top and about 1" from the bottom of the placket; begin to 
narrow it down to the fine point shown at the bottom of the hem as 
in No. 1, Figure 70. To finish the bottom of the placket, turn the 
garment right side out and sew across the bottom of the hems with 
two parallel rows of backstitching, or machine stitching. No. 'J 
shows the finished placket. It is usually unnecessary to sew fasten- 
ings on this style of placket, as there is but little strain on it 

This placket is used in a gathered skirt, principally in children's 
dresses or in night gowns made with a yoke. 



354 
BOUND PLACKET. 



|MHMgMB|flH^^^^^H , . ^^^H 



Figure 71. 

Paragraph 161. The bound placket (Par. 159) consists of one 
strip of material the same as the garment, which is sewed on the 
placket opening double, in such a way as to bind the raw edges. To 
make it, cut a strip of material like the garment 2" wide and a tritle 
longer than twice the length of the opening left at the top of the 
seam. Lay the right side of the strip on the right side of the material 
with the long edge even with the edge of the opening. If the placket 
is made at the end of a French seam, cut almost across the top of the 
seam, being very careful not to cut too far. Baste the edge of the 
strip to the edge of the opening making the end of the stitching in 
the seam just touch the line on which the placket is to be stitched. 
(No. 1, Figure 71, shows the strip basted in place.) When you sew 
across the top of the seam the needle should barely catch the edge of 
the cloth at the seam. On an overcast or plain seam it is often nec- 
essary to drop the edge of the binding strip below the edge of the 
placket opening, beginning about 1 " each side of the seam in order to 
keep the stitching even on the strip and still catch in the end of the 
seam. If too much of the cloth at the seam is sewed into the binding 
strip, the bottom of the placket will pucker. Continue to baste the 
strip around the opening, running the two edges together again, if 
necessary. Stitch in place or sew on by hand with the combination 



355 

stitch (Par. 108). Turn the edge of the strip over about Vs" toward 
the wrong side (see No. 1, F'igure 71), then fold it over again until 
the edge Hes just over the line of stitching. Hem neatly in place, 
or stitch on the sewing machine. As it is difficult to stitch this edge 
so that both sides will look equally well, when the last turning of 
the binding strip is stitched in place by machine, instead of by hand, 
the seams are generally turned toward the right side. Trim the top 
of the strip even with the top of the skirt. No. 2 in Figure 71, shows 
the completed placket open. 

EXTENSION PLACKET. 





^ 


1 








• 


I 

1 : 

i 

♦ ...1 

1 




2 


^ 


1 













rii^ure r^. 



Paragraph 162. The extension placket (Par. 159) consists of two 
narrow strips of material of the same goods as the garment in which 
the placket is to be made. One strip which is twice as wide as the 
first, is used to face the upper edge of the opening; the other is used 
to make an extension on the under edge of the placket. The seam 
should be left unsewed the desired distance at the top of the garment, 

To make the placket, first cut one lengthwise strip "s" wide, about 
1" longer than the opening, to face the upper edge. Cut the second 
lengthwise strip l^o' wide, the same length as the opening plus 1" for 
the extension under the edge of the opening. 

To put on the upper facing, lay the right side of the ~W strip on 
the right side of the skirt, with the edge even with the edge of the 



356 

opening, allowing the top to extend slightly above it. Baste with even 
basting (Par. 103) and stitch in place with 1/4" seam, being careful to 
have this seam in an exact line with the stitching in the seam of the 
skirt. Turn the long edge of the facing under Vg" and turn under 
the bottom as much as is necessary to make it even with the top of 
the seam. Baste with even basting and hem in place (Par. 114), or, 
if the placket is made on an under garment, it may be stitched on the 
sewing machine. No. 1, in Figure 72, shows the facing and the ex- 
tension piece partially basted. 

To set on the extension piece, lay the right side of the IW strip 
on the right side of the material allowing it to extend slightly above 
the top with the edge even with the long edge of the opening. Turn 
up the bottom end until it is exactly even with the facing on the upper 
edge of the opening. Sew the two edges together (with machine 
stitching or the running stitch. Par. 106), with a Vi" seam, which 
should continue the line of stitching in the seam ot the skirt. Turn 
the extension piece back even with the stitching on the wrong side, 
first turning the lower edge in about ^A". Baste carefully in place and 
hem down by hand, or stitch on the right side, with the sewing ma- 
chine if the skirt is an undergarment. Overhand the bottom edge of 
the extension piece to the bottom edge of the facing, and trim the top 
even with the skirt. Turn the garment right side out and stitch across 
the bottom of the placket pieces with two parallel rows of machine 
stitching, or backstitching (Chap. II, Par. 107). No. 2 in Figure 72 
shows the right side of the completed placket, 

FACED PLACKET. 

Paragraph 163. The faced placket (Par. 159) is a combination 
of the hemmed and extension plackets, the upper, or right edge of 
the opening being turned under in a hem, or faced back with silk 
or percaline, while the under, or left edge is finished with a double 
or faced strip extending under the upper edge. In making this 
placket, finish the upper or right edge first by folding under the 
material along its edge so it forms an exact line with the edge of the 
material in the remainder of the seam, and continue any stitching 
that appears in the seam. Baste along the fold with uneven basting 
(Par. 104), trim it down to 1" in width and if the material is light 
weight, finish the raw edge by turning it under, basting and hemming 
it in place, using very fine hemming stitches, which may be placed 
about 1/4" apart (the stitches should scarcely show on the right side 
of the material); or if the material is of heavier weight, the edge may 
be finished with overcasting, blanket stitching, bias tape or binding 



357 




Figure 73. 



ribbon. When the placket 
is completed, the hooks are 
sewed on about y^" from 
the edge. The ends of the 
hooks may be covered as 
in Figure 73, by placing a 
piece of binding ribbon, or 
mercerized dress braid over 
them and hemming it down 
on the edges. 

To finish the left or un- 
der side of the placket, put 
on an extension piece the 
same as in the extension 
placket (Par. 162), or cut 
a piece of material and a 
strip of lining or silk with 
which to face it, making each IV2" wide and at least Vi longer than 
the opening. Lay the right side of the strip of material on the right 
side of the skirt, baste and sew to the edge of the opening with a Vi " 
seam, making this seam come in direct line with the skirt seam (trim 
olT the edge of the opening if necessary). Press open the seam with 
the fingers and face this strip with the lining by stitching the edges 
together, turning the facing under and hemming it to the under side 
of the material where the extension piece is stitched on. If the 
placket comes under a pleat it is necessary to allow this facing to 
extend beyond this stitching to make it come under the eyes when 
they are sewed on. Then turn in the edges at the bottom, baste them 
together and stitch around the bottom and the other edges with 
machine stitching. Sew on the eyes opposite the hooks. 

This placket is used on silk or wool goods. It is especially de- 
sirable to use where a tuck or pleat finishes the seam. 



SEWING ON MACHINE. 

Paragraph 164, As the sewing machine is a great time saver, 
every girl should know how to use it. Before trying to sew on the 
machine you should study the general directions that are given in the 
book which accompanies the machine. Do not try to learn to use any 
special attachments until you have learned to use the machine for 
ordinary work. . 

You should be able to thread the machine correctly, to oil it, to 
adjust the tensions and the length of the stitch. Learn to tread the 



358 

machine evenly, turning the wheel in the right direction. Before 
stitching on a garment, it is advisable to practice stitching on a piece 
of striped material, using the stripes as a guide. Be very careful to 
keep the fingers from under the needle. 

Hold the material which you are sewing smooth and Hat, with the 
bulk of it on the table of the sewing machine. Do not pull the work 
under the presser foot, but let the feed of the machine work it through. 
If the feed of the machine does not do this properly, it probably 
needs to be raised. (It is sometimes necessary to pull the material 
slightly when sewing over a heavy seam.) 

When stitching hems, the edges of bias tape, or bands, stitch very 
close to the edge. When stitching basted seams, sew just outside of 
the basting threads as it is difficult to remove the bastings after you 
have stitched through them. 

Remember that a sewing machine, like any other machine, will 
last longer and do better work if it is kept clean and well oiled. If 
it becomes gummed, oil it with kerosene, run it rapidly, wipe off all 
the kerosene and oil it with sewing machine oil using only a drop 
in each place where it is needed (be careful to use a good grade of 
oil); then wipe the oil from the needle and sew through a piece of 
scrap material (without having the machine threaded) until the oil 
ceases to soil it. 




359 
CHAPTER III 

CARE, REPAIRING, CLEANING AND 
PRESSING OF CLOTHING 

THERE probably never was a time in the history of civilization 
when so much attention was given to the matters of dress as in 
the present day. To be sure there have been periods in which 
the wealthy and royal classes were clad in extravagant finery, but 
during those same periods the peasants and laboring classes were 
known by their garb which was barely sufficient to protect them from 
the elements. In our modern civilization when so much thought is 
being given to efficiency in all lines of work, we are coming to realize 
that our consideration of efficient management should also apply to 
our habits of life. This is especially true in matters of clothing. 
Aside from the attributes of gentleness and kindness there is perhaps 
nothing which is so indicative of personality as ones clothing. This 
is sometimes interpreted by the superficial thinker to mean that 
costly clothing and striking effects are marks of good taste. How- 
ever, this is not true. The really well dressed person is the one whose 
apparel does not detract from his personality. Clothing should not 
be designed to attract attention by its unusual or gaudy appearance. 
A fairly good quality of material neatly made up, well fitting, care- 
fully pressed and always immaculate gives the impression of refine- 
ment and good judgment on the part of the wearer. 

CLOTHING AND PERSONALIIT. 

It is not unusual to hear the remark that Miss Blank always looks 
well dressed in whatever she puts on. If this is carefully analyzed 
you will find that Miss Blank's attractive appearance is many times 
due not so much to the expensiveness of the clothing she wears, as 
to the manner in which she cares for every detail of her dress, and 
to the impression of neatness and carefulness which her appearance 
conveys. It does not require expense to be clean, neat and well 
groomed. The opposite of these conditions is indicative of careless- 
ness, neglect and a lack of culture. Many a person has been refused 
a position of responsibility on account of the marks of carelessness 
and lack of taste which were evident in the personal appearance. 

ECONOMY IN DRESS. 
On every hand, we hear expressions relative to the high cost of 



360 

living and the unusual expense of the things required in daily life. 
While this is true, yet there are many ways in which economy may 
be practiced without depriving one of real necessities. Our present 
high cost of living is due, almost entirely, to an over development of 
people's wants; their needs remain the same as in generations gone- 
by. It is a wise person who can determine between his needs and 
his wants and can adjust this matter in due proportion to his financial 
income. By giving some thought and attention to matters of clothing 
much of the so-called necessary expense can be saved. It is not un- 
common in many homes to find garments discarded for want of a 
little repair, or simply because they are not made according to the 
latest fashion. It is also common to find excellent clothes badly 
abused. Children and young people in i)articular are often thought- 
less about the matter of caring for their clothing. Hats and caps 
should always be hung up, rather than carelessly thrown in the first 
convenient place. Wraps and coats should be hung on suitable hang- 
ers. This is especially important if these garments happen to be 
damp. 

Perhaps you have noticed a fine overcoat with an ugly hump 
and wrinkle in the back just below the collar, indicating that it had 
been hung on a hook or a nail. Suitable hangers for coats and skirts 
are not expensive, in fact they are often given with the purchase of 
the suit. They can easily be made, however, by taking a piece of 
wooden hoop 16" to 18" long, wrapping it with cloth, covering it with 
cretonne or some other attractive material, and providing a piece of 
tape for a hanger. Any number of such hangers can be provided 
with but little work. 

CARE OF CLOTHING. 

Ones bedroom should be provided with a good roomy wardrobe. 
Sometimes such wardrobes can not be had. This, however, is no 
excuse for neglecting to care for ones clothing. The dresser should 
serve the purpose of caring for some of the garments. A large dry 
goods box can easily be supplied to suit the need; it can be fitted with 
shelves and hangers at almost no expense. If properly covered with 
cretonne or some other attractive material and fitted with curtains, it 
will serve the purpose of the much needed wardrobe and will not be 
unattractive in the room. 

The laundry bag should have its definite place and should re- 
ceive all soiled clothes immediately. Because clothing is on its way 
to the laundry is no reason why it should be abused. A soiled gar- 
ment may be damaged by bad treatment. 

Clothing when removed at night should be carefully folded or 



361 

properly hung so as to keep it in good condition. Underclothes and 
in fact all garments that have been worn should be hung in such a 
way as to receive free circulation of air. It is not uncommon — par- 
ticularly in a child's bedroom — to find the removed clothing either 
scattered about the tloor or thrown in a heap, waiting to be worn 
the next day. Such treatment is not only very damaging to the 
clothing, but is detrimental to the health of the wearer. 

CARE OF CLOTHING BETWEEN SEASONS. 

The care of the clothing between seasons is an important matter. 
Before clothing is laid away it should be very carefully brushed to 
remove all dust. Spots and stains (if there are any) should be re- 
moved and the clothing should be hung on a line exposed to plenty 
of fresh air and sunshine (unless the material is of such a nature 
that sunshine will damage it) in order to make sure that it is thor- 
oughly clean before laying it aw^ay. Garments should be neatly 
folded and carefully packed away in drawers or boxes provided for 
the purpose. If one is fortunate enough to have a cedar chest, it will 
be particularly valuable in laying away the furs and woolen garments, 
for it will keep out the moths. Where one does not have a cedar 
chest, any tight fitting box may be used. A dry goods box or trunk 
will answer the purpose. Such a substitute can be made moth proof 
by lining it with tarred paper and putting some camphor gum or a 
few moth balls in with the clothing. Tobacco leaves are sometimes 
used for this purpose. 

It is an excellent plan to remove garments from their packing 
occasionally and give them a thorough airing. The amount of atten- 
tion given to the packing away of clothing will, of course, be gov- 
erned somewhat by the value of the clothing, but any garment which 
is to be worn the following season should have careful attention. 

ALTERING GARMENTS. 

It is frequently good economy to remodel a garment which has 
been left over from the previous season. This is especially true if 
the material in the garment is of a fine quality. Matters of readjust- 
ing sleeves, putting in new yokes, trimmings, and the like are so 
simple and yet so important in the appearance of the garment that 
they should have some attention. No specific rules can be given for 
altering garments, but a few general suggestions have been set forth 
throughout this text in the Suggestions for Home Application. This 
kind of work calls for considerable judgment, but if one will give 
thoughtful attention to the subject of altering, remodeling, retrimming 



362 

and the innumerable ways in which left-over clothing may be util- 
ized, the results will be very gratifying. 

DYEING. 

The matter of dyeing or coloring garments was given a great deal 
of attention by our grandmothers, but most of this class of work is 
now done by professionals. It is impossible to give specific direc- 
tions for dyeing cloth; different kinds of materials require different 
treatment. Many different dyes, varying so widely in nature and use, 
have been made that it is best, if one expects to do any dyeing at 
home, to follow accurately the directions furnished with the package. 

CLEANING. 

The subject of cleaning garments is a very broad one covering 
every line of work from that of the simple principles employed by 
the washerwoman to the most technical work done by the professional 
cleaner. Regardless of what the science of chemistry has taught us, 
the greatest cleaning agent known to the world is water. Without its 
use it would be impossible to keep our clothing in a condition suitable 
for wear. Although the use of hot water and soap is familiar to 
everyone, you will find it extremely interesting to talk with your 
mother relative to the treatment of different kinds of clothing in the 
laundering process. 

LAUNDERING COTTON OR LINEN. 

The matter of laundry may seem perfectly simple when you see 
the great basket of clothing going to the weekly wash, however, if 
you will ask a few questions you will probably find that certain 
garments require special treatment. The process of laundering ordi- 
nary cotton material is perhaps the most simple. Cotton will stand 
almost any amount of hot water and soap. It is not damaged by 
boiling soap suds, in fact the boiling of white clothes has been a 
standard process for many years in home laundering. 

LAUNDERING COLORED GARMENTS. 

Colored garments should not be laundered in the same water 
with the white clothes; they must be carefully treated to avoid fading 
or otherwise changing the colors. The treatment of delicate colors is 
too technical for this discussion; it requires an understanding of the 
chemical nature of dye materials to be able to prevent fading in some 
of them. Different substances, or mordants as they are called, are 
used to "set" or fix the colors so thev will not fade. There are a 



363 

number of chemicals used for this purpose, but they are not com- 
monly applied in the home laundry. 

Common table salt dissolved in water is often successfully used 
to set the color in a new wash garment before putting it through the 
regular laundry process. Colored clothes should be dried in the shade 
for if exposed to the bright sunlight while drying there is great 
danger of the color being faded. 

LAUNDERING WOOL. 

Wool is much more sensitive than cotton and for that reason wool 
garments can not undergo the same process of laundering through 
which the cotton materials are taken. On account of its peculiar 
scaly surfaced fibers, wool has a tendency to "felt," as has been ex- 
plained elsewhere in this text. Extremely high or low temperature 
or strong alkali will bring about this felting process and thus destroy 
much of the soft elastic nature of wool. If an all-wool garment such 
as a sweater is wrung and twisted, in the manner in which cotton 
clothes are handled, there is great danger of giving it a hardened 
almost board-like nature. If such a woolen garment is hung out of 
doors on a very cold day, or if it is washed in strong alkali soap, or 
dipped in boiling water, or pressed with an extremely hot iron, the 
results will be very similar to those mentioned above. It is therefore 
recommended that wool be washed in moderately warm soft water 
with especially prepared wool soap (free from strong alkali). It 
should not be wrung, but the surplus water should be pressed out of 
it. It should then be hung in a room of moderate temperature and 
allowed to dry slowly. After such treatment wool garments will be 
soft, fluffy and elastic like new. 

REMOVING SPOTS AND STAINS. 

The matter of removing spots, stains and various discolorations 
from garments is an extremely difficult one. In order to advise as to 
how a spot may be removed, it is necessary to know what caused the 
spot and also to understand the nature of the cloth. (Give the spot 
a hard brushing with a stiff brush to remove all dust and loose dirt). 
Where the nature of the spot is not definitely known it is a pretty 
good plan first to try moderately warm soft water and a mild wool 
soap. (Ivory soap has been recommended for this purpose). It is 
a good plan to place a clean white blotter under the spot, this will 
absorb the moisture; then work from the outside of the spot toward 
the center in order to avoid spreading it and making an ugly circle 
around the original spot. This in fact is the most difficult rportion 



364 

of the work for unless the cleaning is carefully done the spot may 
be enlarged. If working on white material use a piece of white cloth 
to do the rubbing; if working on dark material a piece of dark cloth 
may be used. Select for this rubbing process some kind of cloth 
which will not leave lint. It is best to use water rather sparingly, 
but to use the soap freely; the soap can be gradually worked out of the 
material by continuing the rubbing with a clean rag and more water. 

If soap and water will not remove the spot some other method 
must be tried. A number of different liquid preparations have been 
made for the purpose of removing spots, particularly from the finer 
materials like the worsteds and the woolens. There is, however, no 
liquid which can be recommended for all kinds of materials and ail 
kinds of spots, as has been previously explained. If the spot is 
caused by grease of some kind, it can usually be removed with the 
soap and water process, or with gasoline. 

Another liquid which is highly recommended, and is used by 
tailors, is a mixture of equal parts of ether, ammonia and (grain) 
alcohol. It should be mixed in a bottle so it can be well shaken 
before using. As it evaporates rapidly, it should be tightly corked 
when not in use. 

Before applying this liquid to a spot on a fine garment first try 
a little of it on the wrong side on the surplus material in a seam, in 
order to determine whether the liquid will damage the color of the 
goods. It is never safe to apply any cleaning fluid on the right side 
of a fine garment until after you have tested it. There may be some 
chemical with which the cloth was colored that will be destroyed by 
the cleaning fluid, thus making a worse spot than the original. Apply 
the cleaning fluid in the manner described for the use of water 
and soap. 

Tailors who have a great deal of cleaning to do make a con- 
venient rubbing rag or "spotter" by rolling a strip of woolen cloth 
about 2V2" or 3" wide into a tight roll and tying it. The ends of the 
roll furnish an excellent rubbing rag because it will absorb the dirt 
as it is dissolved by the cleaning fluid. Sometimes a small stiff brush 
is used to rub a spot. A brush is particularly serviceable if the spot 
is on a coarsely woven material. The three-part cleaning fluid rec- 
ommended here will be serviceable not only in removing grease but 
also in dealing with a great many spots which can not be removed by 
gasoline. It is superior to gasoline because it will also remove dirt, 
carbon dust, and other impurities which may be contained in the 
grease. Gasoline is effective only on grease or oily substances. 



305 

CAUTION. 

In using gasoline or, in fact, any kind of cleaning liquid great 
care must be exercised to avoid explosions. Cleaning should never 
be done near a fire or a lighted lamp. In fact if the room is closed 
there should be no fire or lamp even in the same room where the 
cleaning is being done. You should never attempt to dry the ma- 
terial or your hands over a fire if they are moist with cleaning lluid. 
Gasoline, and in fact all cleaning fluids, are very inflammable and the 
greatest precaution must be used. 

It is sometimes necessary to clean an entire garment, such as 
a silk waist, or a thin dainty wrap. This can be done by washing the 
entire garment in a vessel of gasoline allowing it to soak long enough 
to remove grease spots. Sometimes when an entire garment is to be 
wet it is well to mark the worst spots by sewing around them with 
a basting thread; this will enable one to select the spots when the 
garment is wet and give them special attention, A garment so washed 
in gasoline should be dried in the open air. In fact to avoid danger, 
all of this work should be done out of doors, if possible. The odor 
of gasoline will soon leave the garment if it is left in the fresh air. 
It is not advisable for inexperienced cleaners to attempt to wash a 
large padded garment such as a coat or overcoat in gasoline; it is 
better to deal simply with the soiled spots as previously explained. 

Gasoline in which a garment has been cleaned may be poured 
into a tight fitting vessel such as a fruit jar or jug and kept for future 
use. The dirt and impurities washed out of the garment will soon 
settle to the bottom of the gasoline; the clean liquid can then be 
poured off and used again. 

A FEW OF THE MOST COMMON STAINS AND THEIR TREAT- 
MENT, ALPHABETICALLY ARRANGED. 

1. Blood Stains. Blood stains can usually be removed by wet- 
ting with cold water, afterwards washing with luke warm water and 
soap. The addition of a little ammonia will assist. Hydrogen Per- 
oxide to which a few drops of ammonia have been added will remove 
blood stains readily. 

2. Chocolate and Cocoa Stains. Rub the spot with borax and 
soap, wash in cold water. 

3. Coffee Stains. From ordinary wash goods spots of coffee and 
tea may be removed by i)ouring boiling water through the stained 
spots, afterwards washing with soap. If this does not prove effective, 
gasoline may be used to dissolve the stain. A few drops of anmionia 
added to the gasoline will make it more effective, if the color of the 



366 

garment will permit the action of ammonia. When the spot is com- 
pletely absorbed the gasoline may be washed out with warm soapy 
water. Washing soda will often prove effective in removing stains of 
tea and cofTee. 

4. Fruit Stains. Most fruit stains can be removed from white 
material by the application of boiling water. Peach stain is not so 
easily removed as other fruit stains. It will generally require some 
sort of bleaching process. Stretch the fabric tightly over a bowl and 
pour the boiling water through it, allowing the water to fall from some 
distance. Hydrogen Peroxide with a little ammonia added will 
usually be effective. A little powdered borax rubbed on the stain 
when boiling water is being poured through will also assist in re- 
moving most fruit stains. If the stain is on an expensive colored 
garment it is safer to send it to a professional cleaner. 

5. Grass Stains. Grass stains can usually be dissolved with milk. 
If this is not effective try alcohol or ammonia. Hydrogen Peroxide 
with the addition of a few drops of ammonia will be effective, al- 
though it should be carefully tested before applying to a fine garment 
of dainty color. 

6. Ink. Ink spots are extremely difficult to remove due to the 
fact that so many different chemicals are used in the composition of 
ink. If one could know exactly of what the ink was composed, it 
would not be difficult to remove it. Most ink removers are so strong 
that they also remove the other color from the material. As most 
ink contains acid it can often be dissolved by application of an acid 
of some sort. Lemon juice and salt will usually be effective. Strong 
sour milk will sometimes give good results. If these remedies fail 
and if the garment is a very expensive one it should be entrusted 
only to the professional cleaner. 

7. Iron Rust. Iron rust is a very common stain, but can be 
easily removed with acid. Hydrochloric (Muriatic) acid is most fre- 
(juently used. A few drops of acid can be dropped on the spot with 
a medicine dropper or applied with a glass tube. The acid should be 
applied and the spot rinsed in water. This process should be repeated 
over and over until the spot disappears. The repeated dopping is 
very much better than allowing it to soak in the acid. 

8. Mildew. Mildew can usually be removed by dampening the 
spot repeatedly and exposing it to strong sunlight. It may be neces- 
sary to use some soap solution in washing the spot. Sour milk, which 
contains considerable acid, is also effective in removing moulds and 
mildew stains. 

9. Milk Spots. Cold water and pure white soap will most gen- 
erally remove a milk spot. If this is not effective apply glycerine and 



367 

rub it with a stiff brush. When thoroughly soaked, wash it carefully 
with luke warm water and soap. Any stain made by milk or anything 
containing considerable protein should be treated with warm or luke 
warm water and soap. (A protein stain should not be cleaned with 
boiling water.) If stains caused by different fruit juices can not be 
removed by luke warm water they should be treated with boiling 
water. 

10. Oil. Oil stain may generally be removed by washing with 
cold water and plenty of soap; as it is a protein stain it should not 
be treated with boiling water until after it has been thoroughly 
washed. If the soap is not effective the spot might be saturated with 
kerosene and allowed to soak. This will usually be effective. 

11. Paint. Paint or varnish are usually rather difficult to re- 
move. If the stain is taken when fresh it may usually be removed 
by dissolving with turpentine or gasoline. Either of these treatments 
will dissolve the oil and the colored matter can be brushed out when 
dry. After a paint stain has become thoroughly dry it is very diffi- 
cult to remove and probably should be undertaken only by a pro- 
fessional. 

12. Scorch. A scorched spot can be removed by dampening it 
and exposing it to bright sunlight. Of course the scorched spot can 
be removed only when it is very slight and the fiber of the goods is not 
seriously burned. There is no remedy if the material is badly burned. 

13. Tea Stains. See No. 3 and follow same method. 

14. Unknown Stains. The treatment of unknown stains is nec- 
essarily a matter of experimenting. One should try only the milder 
remedies first in order to avoid damaging the goods. A great many 
stains can be readily removed by being moistened and exposed to 
sunlight. This bleaching process should be used wherever possible 
for it is both cheap and safe. Never attempt to remove an unknown 
stain with a remover which is likely to damage the color of the 
garment, until the remover has been tested to make sure that it is 
perfectly safe. 

15. Varnish. See No. 11 and follow same method. 

PRESSING. 

Everyone is more or less familiar with the simple processes of 
ironing clothes for the purpose of making the surface smooth and 
attractive. While there is much that can be said regarding the 
treatment of different fabrics in ironing, yet most of this information 
can be acquired by talking with your mothers at home. 

The subject of pressing garments is very important. As the term 



368 

is generally used it refers not to the common process of ironing 
connected with laundry work, but to the process of dealing with 
woolen and worsteds and other line fabrics to bring them back to 
their original shape and appearance when new. In order to under- 
stand the matter of clothes pressing, it is well to think of the processes 
through which the woolen goods are taken at the factory. There are 
a great many difTerent treatments given to line fabrics to product- 
special finishes, but most of them include dampening the cloth (usu- 
ally with steam) in order to soften the woolen fibers and make them 
perfectly pliable. The cloth is then stretched straight and smooth 
and held in this position until it becomes thoroughly dry. Different 
special finishes are also given whatever treatment is necessary to 
bring about the desired effects. Woolen material so dampened, 
stretched, and dried will retain its shape and smoothness for a long 
time. 

In order to do home pressing properly, woolen materials must 
be taken through pretty much this same kind of treatment. As it is 
not convenient to steam a garment before pressing it, a simple way or 
getting the same results has been devised. 

GENERAL SUGGESTIONS FOR PRESSING. 

Before beginning the actual pressing work on any garment all 
loose dust and dirt must be brushed out of the cloth, spots and stains 
must be completely removed by some of the methods already de- 
scribed. If dust and dirt are left in the material the steaming process 
may cause the cloth to look dingy. 

Sometimes a garment has a shiny appearance which needs to be 
removed. There are a great many ways in which this can be dealt 
with. A hard brushing with a stiff brush will often prove effective. 
Sometimes it will be necessary to rub the spot lightly with very fine 
sand paper, other times such an effect can be removed by sponging 
the spots before finishing the pressing. 

Any garments to be pressed should be laid perfectly straight 
and smooth in the desired shape. Pressing is sometimes done directly 
on the wrong side of material, this, however, is not a good practice 
for beginners. You should work on the right side according to the 
following directions. 

A piece of wet cloth (a soft well worn piece of canvas or un- 
bleached muslin is satisfactory) should be placed smoothly over the 
garment. This wet cloth should be covered with another perfectly 
dry piece of heavy material (a piece of canvas would be suitable for 
this purpose). The hot iron is then applied to the dry cloth. The 



3()9 

heat of the iron produces steam from the wet cloth and causes it to 
pass into the garment which is being pressed. The dry cloth on the 
top serves to hold the steam and thus forces it into the garment. In 
order to prevent wrinkling it is well to jiress with a straight downward 
pressure, as much as possible, rather than v>ilh a rubbing motion. 
The pressing cloths should be removed, and while the garment is 
soft and pliable from the dampness of the steam, it should be 
stretched, smoothed, or pulled into its proper shape. This is par- 
ticularly true in pressing garments like men's trousers or a skirt 
which may be considerably out of shape. The damp cloth should be 
again applied and covered with a dry one; the pressing should con- 
tinue either until the damp cloth is perfectly dry, or the damp one 
may be removed and the final pressing done with the dry one alone. 
The pressing should be continued until the garment is perfectly dry. 
The most important point is to make sure that the garment is 
absolutely dry before the pressing ceases. If a garment is left damp, 
all the tiny fibers of the wool being soft and pliable, it will not hold 
its shape long. However, if the pressing is done until the material 
is absolutely dry, the garment will remain in fine condition for a 
long while. 

PRESSING EQUIPMENT. 




HiHiie Pressing Outfit. 



370 

No special equipment is required to do home pressing. Tlie 
work may be done on an ordinary ironing board, although a table 
will usually be found more convenient. If a table is used it should be 
protected with several thicknesses of cloth or blanket covered with a 
piece of muslin. It should be of sufficient thickness to form a pad. 
The accompanying illustration shows the work being done on an 
ordinary kitchen table. You Mill notice that a very large iron is used. 
Such a large heavy iron is particularly desirable, however, if you 
-do not have one the small flat iron with which the family ironing 
is done will be satisfactory. 

A good stiff clothes brush, a brush broom, a bottle of cleaning 
liquid and a pan of water constitute about all the equipment neces- 
sary. On the rear of the table in this illustration you will see a press- 
ing board. This is especially desirable in pressing garments like coats 
and vests for it is convenient in working around the shoulders, the 
collars and the sleeves as explained in a following illustration. For 
the pressing cloth you should be provided with a large piece of heavy 
unbleached muslin or a piece of toweling may be used. 

TO PRESS A PAIR OF TROUSERS. 

Trousers are not difficult to press. They should first be carefully 
cleaned as already explained. One leg should be pressed at a time, the 
other being folded back out of the way. It is usually found more 
convenient to press the inside of the leg first then turn it over and 
press the opposite side of the same leg, always keeping the other leg 
folded back out of the way. Trouser legs should be so pressed that 
the inside and the outside seams come together. This will make a 
straight crease down the front and also down the back of each leg. 
Trouser legs should be pulled perfectly straight to remove the full- 
ness or bagging tendency at the knee. 

Lay the trousers flat on the table making sure that the seams are 
placed as above described. Wet one of the pressing cloths and lay it 
smoothly over this leg. Lay a dry pressing cloth over the wet one and 
apply the hot iron. It is well to remove both cloths and pull the leg 
straight and see that the seams are properly placed before completing 
the pressing. The material will be found very soft and pliable after 
the steam from the cloth has entered it. After getting a leg properly 
shaped and all wrinkles smoothed out, lay the pressing cloth again in 
position and continue the pressing. 

The damp cloth may be removed and the work completed work- 
ing with a dry cloth alone. Carefully turn the trouser leg over and 
press the opposite side of the same leg. The second leg should be 



371 



pressed exactly like the first. Do not forget to continue pressing until 
the garment is perfectly dry. 

PRESSING A VEST. 

A vest is a very easy garment to press. It should be pressed on a 
pressing board in the manner shown in the illustration. If you do not 
have such a pressing board, it may be pressed on the corner of the 
table in a satisfactory manner. The process of pressing with one wet 
and one dry pressing cloth is the same as pressing the trousers. 

PRESSING A COAT. 

A coat is much 
more difficult t o 
press because of its 
irregular shape and 
heavy padding. A 
beginner should 
not undertake to 
press a coat, but 
should practice on 
some of the easier 
garments such as 
trousers, skirts or 
a vest. The accom- 
panying illustration 
shows the position p„^iti^„ ^^^ Pressing Lapel. 





I'nsition for Pii-ssiiii;; IJack 



of the coat on the 
board ready for the 
lapel and the front 
to be pressed. The 
coat is then shifted 
about on the board 
to convenient posi- 
tions for pressing 
the other parts. 

The next illustra- 
tion shows the pos- 
ition of the coat 
ready for the back 
to be pressed. A 
little experimenting 
and practice will 
enable vou to find 



372 

a position in which you can press the difTerent parts of the coat very 
satisfactorily. As a coat is heavier on account of the padding, it will 
require more time to press it thoroughly dry. All the while you are 
pressing a fine garment it is well to keep in mind the fact that it is 
very valuable and that a title carelessness might ruin it by scorching. 

You will find the pressing of clothing very interesting and it 
will be well worth your while to practice it in your home. 

A moderately expensive suit of clothes kept clean and well 
pressed always gives a much better appearance than a very expensive 
suit which is more or less soiled and neglected. Much can be added 
to the life of a suit by the careful cleaning and pressing explained 
in this chapter. 

TO PRESS A WOOL DRESS. 

The dress should be thoroughly dusted and all spots removed 
before pressing. To press a plain skirt, lay it over the ironing board, 
with the bottom of the skirt on the wide end of the board; stretch 
it smooth and place a piece of cloth wrung out of water over the 
skirt. Cover this piece with a dry piece of heavy cotton material (the 
second cloth may be omitted but the pressing is more easily done 
with it). Apply a hot iron with a straight downward pressure; iron 
until the skirt is well steamed, then remo\'e the wet cloth and iron 
on the dry one until the material is dry. Continue this process until 
the entire skirt is pressed. 

Before pressing a pleated skirt, baste the pleats in proper posi- 
tion, or stretch the skirt on the ironing board until the pleats are 
straight and pin them at the bottom. If the pleats are not basted, 
straighten and pin them as you continue to press the skirt. 

A wool waist is usually pressed on the wrong side; it is dam- 
pened by rubbing a wet cloth over the wrong side of the material. 
(Be very careful not to scorch the material). In pressing a sleeve 
where no crease is desired turn it wrong side out, dampen by rubbing 
with wet cloth and press it over a magazme which has been rolled 
and slipped inside of the sleeve. 

TO PRESS A SILK GARMENT. 

Silk is very susceptible to heat; therefore, in pressing silk gar- 
ments care should always be taken to see that the iron is icanii, 
rather than hot. Turn the garment wrong side out, and if necessary 
dampen it by rubbing a slightly dampened clolh over its surface, then 
press with a warm iron. 

Wash silks and ribbons when washed should be rolled in a 
towel and allowed to remain there a while to remove the excess of 



373 

moisture; then they may he ironed hy phicing a cloth over them and 
pressing until the silk is partly dry, then remove the cloth, turn 
wrong side out and iron until perfectly dry. 

You should experiment on some of your older and cheaper 
garments until you have become sutficiently acquainted with the 
methods of cleaning and pressing clothes to enable you to take good 
fare of your garments; you can thus not only save considerable ex- 
pense in matters of wearing apparel, but you will also convey the 
impression of carefulness and good taste in dress. 




374 
CHAPTER IV 

PATTERNS AND PATTERN DRAFTING 

GENERAL DISCUSSION. 

JrST how much should be undertaken in the matter of pattern 
drafting in public school work has been a question of consider- 
able discussion. There is no doubt that the technical considera- 
tion of the subject belongs to the vocational school; as it is usually 
taught it has little or no place in the average secondary- or elementary 
school. This is the decision of most educators who have given the 
subject much thought. Their opinions have probably been formed 
largely on account of the manner in which the subject of pattern 
drafting has been presented. Too often the subject is approached 
with only one idea in mind, that of producing the most satisfactory 
pattern for a particular garment, with but little consideration of the 
underlying principle by which the pattern is constructed. In such 
teaching the making of the pattern is the desired end in itself 
rather than merely a means. 

A great many patent methods have been devised for the laying 
out of patterns. They are accompanied by their own rules, squares, 
angles, and peculiar instruments for the development of curves, pro- 
portions, etc. Such purely mechanical effort is out of place in edu- 
cational work. It is not desirable that the public schools should 
undertake to do much in pattern drafting as a professional subject. 
There are, however, a few points which can be intelligently ap- 
proached and which, for that reason, should not be ignored. 

Students who are studying sewing to the extent of garment 
making should certainly understand taking measures and applying 
those measures in lading out and constructing simple patterns. 

In presenting the subject of pattern drafting and garment making 
there is always one almost insurmountable difficulty. With each 
change of season and, in fact, even oftener the styles vary so much 
that the particular cuts and proportions which were considered good 
taste at one period are soon cast aside as out of style. 

Throughout this text it is the purpose not to cater to particular 
styles and fancies, but to present only fundamental principles which 
should form the basis of all styles. The human form is the same 
from generation to generation and therefore the essential principles 
involved in fitting the human form do not vary materially. These are 
the ideas which this discussion in pattern drafting attempts to present. 
Care has been exercised to avoid anv hard-and-fast set of rules to be 



375 

followed mechanically for such procedure fails to develop inde- 
pendence of thought and judgment which should be brought to bear 
in every step. Pattern drafting will thus be treated not as an end in 
itself, but as a means toward a clear comprehension of the art of 
making garments. 

Skillful dressmakers do not rely upon some memorized set of 
rules for drafting. They must be sufficiently in command of the 
subject to be able to make their own patterns intelligently, or to use 
conunercially prepared patterns and to alter them and adapt them 
to the figure at hand and to the particular style to be presented. In set- 
ing forth any single set of rules for pattern drafting there is great 
danger of enslaving the student to the mere detail of the system 
rather than to give that student a broad conception of the function 
of the work which is necessary to the development of independent 
thinking. If a student develops a keenness of taste and appreciation, 
learns how to utilize commercial patterns, and how to adapt them 
to different figures and styles, from an educational standpoint the 
work must certainly be pronounced a success. 

Freehand drawing is exceptionally beneficial in connection with 
this work. Students should learn to draw the various curves incident 
to pattern construction freehand rather than to attempt to follow 
definite or specific rules. After all it is a matter of developing the 
judgment which the work seeks to bring about. Any little girl who 
has ever attempted to make a doll dress has some appreciation of 
the necessity of a pattern. In fact there would be no better way of 
impressing the general function of patterns than to drape some cheap 
material or paper about a dress form, and then by freehand cutting 
remove the surplus parts and develop the material into a pattern 
which could be satisfactorily joined into a fitting garment. The 
problem of fitting the human form neatly and gracefully is always 
the problem to be considered when patterns are being developed. 

It is sometimes thought that on account of the many changes 
brought about by styles — the fact that sleeves are sometimes large at 
the bottom while the next style may call for the fullness at the top — 
the skirts are sometimes full at the bottom and other times narrow — 
would make it impossible to present any definite instructions for 
drafting. Such is not the case for, as was previously set forth, the 
human form does not vary, therefore, the foundation plan uj)on which 
all patterns are drafted remains identical. The commercial companies 
that prepare patterns are able to use their foundations to develop 
whatever patterns are required to meet the passing styles. 

In this discussion an effort is made to present a simple straight 



37G 

line method whereby patterns for typical garments may be drafted. 
There are really only a very few general types or shapes of garments; 
for illustration, the waist represents the fundamental principles from 
which an almost innumerable host of modified garments have been 
devised; the variation in shapes of necks, collars, sleeves, shoulders, 
etc., etc., are but minor points in the art of waist making; the scientific 
principles — the foundation elements of the garment — are scarcely 
disturbed. For illustration, the pattern of the tailored waist makes 
no elTort to follow any set style, for it can readily be appreciated that 
this drafting could not change from time to time so as to keep in 
line with the small variations in details which may be brought about in 
those garments. Definite instructions are, therefore, given for making 
a foundation waist pattern, and suggestions are offered showing how 
this foundation pattern may be altered to meet the variations of style. 

The standard skirt is the type from which almost unlimited 
modifications are developed to suit the dictates of fancy; petticoats, 
under skirts, princess slips and all their kindred are outgrowths of 
the one foundation. 

A skirt pattern is, therefore, presented in a manner similar to the 
waist pattern. Whether a skirt should be made of five, seven or any 
number of gores is a matter to be dictated by fashion, but the founda- 
tion principles upon which this skirt is constructed do not vary, 
therefore, in this discussion, directions are given for the drawing of a 
foundation skirt pattern. It can then be constructed of any number 
of gores, and made with any other minor details which fashion may 
dictate without violating any of the principles herein presented. 

In each type garment presented in this chapter, an elfort is made 
to carry out this same idea. From these type garments practically 
all of the common garments can be developed; this is explained some- 
what in detail in connection with the presentation of each type i)attern. 

EQUIPMENT FOR DRAFTING. 

For drafting patterns according to the straight line method you 
should have the following ecjuipment: one yard stick, pencil, tape 
measure, ruler, drafting paper (Manilla wrapping paper 30" to IW 
wide; the wide paper is more desirable). 

TAKING MEAS11RP:MENTS FOR A FOUNDATION SHIRT WAIST 

PATTERN. 

The success of your pattern drafting will depend very greatly 
on the accuracv of vour measurements. The measurements mav be 



I 



377 

taken over a thin waist, preferably with set-in sleeves. It is diflicult 
to take the measurements accurately over a waist made with kimono 
sleeves, but it' such a waist is worn when measurements are taken 
the shoulder seam and armhole should be indicated wilh a row ot 
pins. Locate waist line by pinninj,' a piece of tape, or a tape measure 
around the waist. 

The following measurements are necessary in order to draft the 
shirt waist pattern illustrated: 

Neck. A close measurement around the lower part of the neck. 

Shoulder. The measurement from the base of the neck to I lie 
end of the shoulder. 

Depth of Armhole. Locate the line for this measurement by 
j)inning a tape measure around the body, close under the arms. 

For front depth of armhole, measure from the base of the front 
of the neck to the top edge of the tape measure. Be careful that this 
measurement is not too long; it should be about 4" to 5^2 "• 

For the back measurement, measure from bone at base of neck 
to top edge of tape measure. This measurement should be longer 
than the front measurement. 

Bust. An easy measurement across the fullest part of the bust 
with the tape measure placed about 1" below the armhole and ele- 
vated slightly in the back ( stand behind the person to take the 
measurement); add 3" for fullness. 

The Back Bust. Measurement from one under-arm seam to the 
other across the back. 

The Front Bust. The ditTerence between the entire bust measure- 
ment and the back bust measurement. 

Under Arm. Measurement from close under the arm down to the 
waist line indicated by the bottom edge of the tape measure. 

Length of Front. Measurements from base of neck in front to 
waist line as indicated by the bottom edge of the tape measure. 

The Length of the Back. The measurement from the large bone 
at the back of the neck to the waist line indicated by the bottom edge 
of the tape measure. 

Width of Chest. Measurement made 2" below the base of the 
neck across the front of the body from the place where one arm joins 
the body to the same place on the other side. 

Waist Measure. A tight measurement around the waist. 



378 



DRAFTING A FOUNDATION SHIRT WAIST PATTERN. 
THE FRONT. 




NOTE: You should make 
a careful study of the illus- 
tration given here, locating 
each point and thinking 
through every operation con- 
nected with making the pat- 
tern. Most students who 
have difficulty in drafting 
patterns can trace their un- 
satisfactory work to the 
hahit of trying to follow 
directions hlindly, without 
considering the reasons, or 
exercising judgment in the 
various steps. 

You will also find it very 
profitable to secure a plain 
waist and skirt pattern of 
any reliable pattern company and study them piece by piece until you 
know in general about what shaped pieces you are attempting to draft. 

As this pattern is drafted for only one-half the waist, you will 
use measurements for half of the chest and half of the front bust 
in drafting it. 

For construction lines draw line AB 2" from the right-hand edge 
of the paper; draw line AC at right angles to it. 

To Draft the Neck. To lay out the neck at the shoulder, measure 
2" from point A on line AC and locate point L; to lay out the neck 
at the center front, measure down 2" from point A on line AB for a 
neck measuring 12" (increase this measurement Vs" for each W 
increase in neck measure, for instance for a neck measuring 13", 
measure 2i/4", etc.).. This locates point M; connect points L and M 
with an easy inward curve as in the illustration. 

To Draft the Shoulder. From point L, measure out on line AC 
the measurement for the shoulder, locating point N; drop a perpen- 
dicular line IW (if the shoulder is very sloping drop this line 2"). 
Draw a line from point L through the end of the perpendicular line. 
(This is shown by a dotted line in the illustration.) Lay out shoulder 
measure on this line, measuring from point L, thus locating point O. 



379 

To Draft the Armhole. As the chest measure is taken 2" below 
the base of the neck, locate the place for the chest line on the pattern 
by measuring down from point M 2" on line AB; call this point P; 
from point P draw a line parallel to the line AC. Lay out one-half 
the chest measure on this line, locating point Q. To locate the under- 
arm seam and base of armhole, measure down the depth of front 
armseye from j^oint M on line AB and locate point R; draw the line 
RS parallel with line AC and equal to one-half of front bust measure. 
Connect points OQ and S with a curved line, allowing it to drop 1/2 " 
below the line RS, as in illustration. 

To Draft Under-arm Seam. From point S drop a line parallel to 
line AB the length of the under-arm measure and locate point T; 
measure 1" to the left, locating point U, and draw a slanting line from 
point S through this point. Line US should equal length of under- 
arm measure. 

The pattern should be made to extend about 4" below the waist 
line, forming a tail, or skirt, as it is sometimes called. The under-arm 
seam must slant out below the waist to allow for extra size at the hips. 
To obtain the slant for this line, lay the yard stick so it touches the 
points L and U and draw the line UW 4 " long. For a person with 
extra large hips place yard stick on points M and U to draw the line 
UW. From point M measure down on line AB the measurement for 
length of front; locate point V. Draw line UTV (this is the waist 
line), extend it beyond line AB to the edge of the paper. For the 
bottom of the skirt, draw the line WX parallel to line UV, allowing 
it to extend to the edge of the paper. 

To give extra fullness to the bottom of the waist, draw a slanting 
line from point M to point X. 

To Draft the Seams. Draw lines parallel with and ^o" outside 
of the shoulder and under-arm seam. 

THE BACK. 

The back pattern also is drafted for only one-half the waist, 
therefore, you will use measurements for one-half the neck and 
back bust. 

Draw a construction line AB parallel with the left edge of the 
paper; draw line AC perpendicular to it. 

To Draft the Neck. To lay out the center back of the neck, 
from point A measure down on line AB ^2" for a neck measuring 
12" to 14" (measure down %" for neck measuring 14" or over); mark 
point L. To lay out the neck at the shoulder (the size of the neck on 



380 




the back of the waist should be Vs 
of the entire neck) measure out 
from point A on line AC yi of V2 the 
neck measure. Mark this point M. 
Draw a curve connecting points L 
and M. 

To Draft Shoulder. From point 
M on line AC, lay out the shoulder 
measure, locating point N; to make 
the slope on the shoulder, drop a 
perpendicular line from N 2V4" for 
an ordinary shoulder (for a very 
sloping shoulder make this line 2V2" 
long). With a ruler on the end of 
this line, draw the slanting line MO, 
the length of the shoulder measure. 
To Draft Armhole. On the line 
AB measure down one-half the 
depth of armhole measurement and 
locate point P. At point P draw a line parallel with line AC. From 
point O, drop a perpendicular to this line. As the armhole curves 
in slightly from the shoulder, measure in Yi" locating point Q. To 
locate the bottom of the armhole and the top of the under-arm seam, 
measure down from point A on line AB the depth of armseye meas- 
urement and draw the line RS parallel with line AC, equal to one- 
half the back bust measurement. Connect points OQ and S with a 
curved line as in the illustration. 

To Draft Under-arm Seam. From point S drop an indefinite 
perpendicular line. On this line from point S lay out the under-arm 
measurement and mark the point T. As the under-arm seam should 
slant in toward the center back at the waist line to remove fullness 
under the arm, measure in and up slightly from point T locating point 
U; draw a line from point S to point U. This will be the under-arm 
seam and should be the length of under-arm measurement. 

To form the line for the center back, measure down from point A 
on line AB the length of back measure. One-half inch in from this 
point, locale jioint V; draw the line AV, allowing it to extend at 
least 4" beyond point V. Draw the line W for the waist line. 

To Draft Skirt of Waist. To allow for the extra size over the 
hip, the under-arm seam nmst slant out below the waist line the same 
as for the front pattern. To draw this line, lay the yard stick on 



381 

points M and I' and draw the line UW 4" long. For an extra large 
hip place one end of the yard stick on i)oint L instead ot point M. 
Dra\v the line X\V parallel with AC for the hottom of the waist. 

To Draft Seams. Draw lines parallel with and ^ ■_>" outside of the 
shoulder and under-arm seams. 

DIRECTIONS FOR USING SHIRT WAIST PATTERN. 

For a waist which is to be opened in the center front, lay the 
center back represented by the line AX on a lengthwise fold of the 
material, thus cutting the back in one piece. For a waist which is 
to be opened in the center back, lay the hems the width desired and 
place the center back of the pattern on the center of the hems. 

As no allowance is made for finishing the hems on the center 
front of the pattern, the center opening of the waist may be tinished 
as desired and the center front of the pattern rejiresented by line MX 
may be placed in the line where the fastenings are to be sewed. 

If a tucked waist is desired, the tucks may be laid in the material, 
the pattern j/laced over them and the waist line cut out the same as 
for a plain waist. If a yoke is desired, the shape may be marked with 
a pencil on the upper part of the pattern. Extra allowance should be 
made for seams along this edge when the waist is cut out. If fullness 
is desired in the waist below the yoke, lay a pleat in the material 
lengthwise, wide enough to allow for the fullness desired. 

ONE-PIECE FOUNDATION SLEEVE. 
MEASUREMENTS. 

Length of Arm from Shoulder to Wrist. Measure from end of 
shoulder to the wrist. 

Armhole, Measurement around the arm where it joins the 
shoulder (an easy measure), about the size of the armhole of the 
waist. 

Shoulder to Elbow. Measurement from the end of the shoulder 
to the ])end in the elbow. 

The Hand. With the thumb closed over the palm of the hand, 
take this measurement around the broadest part of the hand. 

DRAFTING THE SLEEVE PATTERN. 

Study carefully the accompanying drawing. This j)attern is 
to be drafted on a double fold of the paper; use the folded edge of the 



382 




paper for line AB; draw line AC at right 
angles to line AB. 

To Draft the Top of the Sleeve. For a 
smooth fitting sleeve, 4" is allowed for 
the height of the curve for the upper 
part of the sleeve; this measurement 
should be increased if the sleeve is made 
wide enough at the top to be gathered 
in the armhole of the waist. 

Draw the line LM 4" below Tnd par- 
allel with the line AC, making it equal 
to one-half the armhole measurement, 
plus Vo". To locate the point where the 
under-arm curve should cross this line, 
measure in from point M one-fifth of 
the armhole measurement and locate 
point N. To locate the point where the 
top curve of the sleeve should begin, 
measure from point M on line ML two- 
fifths the length of the armhole measure- 
I ment and locate point O; erect a per- 
pendicular line to line AC; measure 
down on this line % " locating point P, which will aid in drawing the 
under-arm curve the right shape; draw line AM for the top curve and 
line APNM for the under-arm curve of the sleeve. 

To Draft the Remainder of the Sleeve. Locate point S at the 
bottom of the sleeve by measuring down on line AB the length of the 
shoulder to wrist measurement. At point S draw a line at right 
angles to line AB. Draw the line QR parallel with and equal to line 
AS. To lay out the width of the sleeve at the bottom, measure in 
2y2" to 3" (depending on fullness desired) from point R on line SR, 
locating point T. Draw the line MT. To allow for the bending of 
the elbow, the bottom of the sleeve should be a trifle lower on line 
AB than at point T; H" from point S on line AB locate point S2; draw 
a slanting line from point S2 to point T. This forms the bottom of the 
sleeve which may be gathered into a narrow band to fit the wrist. 
To shape the sleeve on the seam where the elbow bends in, 
measure down from point A on line AB the shoulder to elbow 
measurement; locate point V; from point V draw a line parallel with 
line AC, locating point W where it crosses line MT; measure in from 
point W on line VW ^2", locating point X; draw lines MX and XT. 
These lines form the under-arm seam on the sleeve. 



383 

If the cufT is to be used on the bottom of the sleeve, measure up 
from point S the width desired for the cuff and draw line YZ parallel 
to line ST. Measure down 1/2" from point Y and locate point Y2; 
draw the slanting line Y2Z (a tailored cufT is made 2y2" wide, as a 
rule). The placket opening for tailored cuff may be cut on the line AH. 

If this sleeve is to be fitted in at the wrist without a band, or cull, 
line ST should be made equal to one-half the hand measurement. 

To allow for a seam on the sleeve, draw lines parallel with, and 
V2" outside of lines MX and TX. With the paper folded cut out the 
pattern on the heavy lines around the top curve, on the under-arm 
seam and the bottom of the sleeve. Open the pattern to cut out the 
under-arm curve. 

Laying Pattern on the Material. Both sleeves may be cut out at 
one time by laying corresponding sides of the material together so 
you will have a sleeve for each arm, instead of two for one arm. 
Open the pattern and place line AB parallel with the warp thread of 
the material. 

Modification of the Sleeve Pattern. The sleeve may be made full 
at the top by increasing the length of lines AL and LM. It may be 
made wider at the bottom by increasing the length of line SR. It 
may be made any length desired by drawing a line parallel with S21' 
any length desired on the sleeves. If tucks are desired, either cross- 
wise or lengthwise of the sleeve, they may be made first, after which 
the sleeves may be cut out the same as a plain sleeve. 

DEVELOPING OTHER PATTERNS FROM THE SHIRT WAIST 

. PATTERN. 

CORSET COVER. 

A corset cover pattern may be developed from the shirt waist 
pattern in the following manner: For the front, measure up from the 
end of the shoulder line of the waist pattern one-third the length of 
the shoulder. Measure down from the base of the neck of the pat- 
tern 3" or 4" to the point desired for the top of the corset cover. 
Allow 2" extra on front of pattern for fullness; connect top of front 
and shoulder with an inward curved line. Cut off the pallorn at 
the waist line. 

For the back of the corset cover measure up from the end ot 
the shoulder line one-third the length of the shoulder; measure down 
from the center of the neck to the point desired for the top of corset 
cover; connect this point and shoulder with curved line. Cut off' the 
pattern at the waist line. 



384 

CHEMISE. 

Eor the front of the chemise, measure up from the end of the 
shoulder of the shirt waist pattern one-third the length of the shoul- 
der; measure down from the base of the neck of the waist pattern to 
the point desired for center front of neck of chemise, allowing 2" 
on the center front for fullness; draw a curved line and connect the 
point marked for the top of the shoulder with the center front of the 
neck. Measure down from this point the length desired for the 
chemise. Continue the under-arm seam of the waist down the length 
desired for the chemise. Connect the center front of the bottom with 
the under-arm seam, allowing the line to curve up a little (about P2") 
for the bottom of the chemise. 

For the back, measure down from the center back of the neck on 
the pattern to the point desired for the top of the chemise, allowing 
2" on the center back for fullness; measure up from the end of the 
shoulder seam one-third the length of the shoulder; draw the curve 
for the neck, connecting the shoulder and center back. Make the 
chemise the same length in the back as the front. F'rom the perpen- 
dicular line at the under-arm seam in the shirt waist draft, measure 
out IV2" at the waist line and draw the line for the side seam of the 
chemise through this point, making the seam as long as the seam on 
the front of the chemise. Lay the center front of the chemise pattern 
on a fold of the material when cutting it out. Do likewise when cut- 
ling out the back of the chemise. 

NIGHTGOWN. 

A nightgown pattern may be developed from the shirt waist 
pattern in the same manner as suggested for the chemise, except that 
the nightgown is made long enough to touch the lloor. When the 
length is laid out on the center front a line is drawn perpendicular to 
it at the bottom and one-fourth the desired width of the nightgown 
is measured out on this line. This point is connected with the top 
of the under-arm seam of the waist. The back of the nightgown is 
laid out in the same manner. 

SUGGESTIONS FOR FITTING WAIST. 

Put on the waist right side out and pin it together. Place a tape 
measure, or piece of cotton tape over the garment at the waist line 
and adjust the fullness at the bottom of the waist. If the shoulder 
seam lies straight along the top of the shoulder from the base of the 
neck to the end of the shoulder, if the under-arm seam runs from the 
center of the under-arm to the waist line slanting a tritle toward the 



385 

back and the waist is tree from wrinkles of any kind with sufficient 
fullness across the bust, your waist will need no alterations. 

If the waist wrinkles from the neck to the bottom of the arm- 
hole, the shoulder seam slopes too much. Re-pin it, makinj- the seam 
narrower at the end of .the shoulder. 

If the waist wrinkles crosswise at the top of the back, or front, 
it should be altered at the neck and shoulder; cut out the neck a trille 
(it is a good plan to make short crosswise cuts across the curve of 
the neck before cutting out the material) and make the shoulder seam 
narrower at the end of the shoulder. 

Where the waist wrinkles down at the curve of the armseye it 
should be cut around this curve. It is advisable to make crosswise 
cuts in the edge, as suggested for the neck, before cutting out the 
material. If the waist is too loose at under-arm seam, the seam should 
be taken up until the waist fits smoothly. (Be very careful not to fit 
it too closely at this point.) If the waist is to be finished with a 
peplum or band, trim it otT the width of a seam below the waist line 
(be very careful to leave the waist long enough so it will not pull U]) 
above the belt of the skirt when the arm is raised). 

SLEEVE. 

Place the sleeve in the armhole of the waist with the under-arm 
seam about 2Yi" to 2^2" from the under-arm seam of the waist. See 
that the seam of the sleeve hangs straight to the front of the wrist and 
that the top of the sleeve hangs straight to the back of the hand when 
the arm is dropped straight down at the side. Pin the sleeve in the 
armhole, being careful that neither the waist nor the sleeve draws in 
any place when the arm is raised or lowered. Bend the elbow and 
see that there is sufTicient room to do this without straining the seam 
of the sleeve at that point. Pin the sleeve up at the bottom to make it 
the desired length. A sleeve should fit easy on the arm, otherwise it 
will be uncomfortable and will be likely to pull out at the seams. 

FOUNDATION SKIRT. 
MEASUREMENTS. 

Waist Measure. A close measurement around the smallest part 
of the waist. Before taking the other measurements, pin a tape 
measure or narrow strip of muslin around the waist; let the bottom 
edge indicate the waist line. 

Hip Measure. A loose measure taken over the fullest part of the 
hip about (>" below the waist line at the hip. If the skirl is to be 
narrow at the bottom add 2' to the hip measure. 



386 

Length of Front. Measurement from the waist line at the center 
front to the floor. 

Length of Side. Measurement from the waist line over the hip 
to the floor. Take the measurement of both hips; if one hip is larger 
than the other, use the longer measure. 

Length of Back. Measurement from waist line at the center 
back to floor. 

Construction of Skirt. A gathered, or pleated skirt made as wide 
at the top as it is at the bottom should not be curved out at the waist 
line in front, as the gathers will take up the extra size at the hips. In 
making such a skirt, straight strips of cloth may be sewed together. 
When a skirt fits smoothly around the hips, it must be wider at the 
bottom and narrower at the waist than at the hip line. This is done 
by slanting the strips of material from the bottom to the top sufficient- 
ly to make it fit the figure. When a skirt is made to fit the figure, it 
is always necessary to raise the waist line at the back to make the 
top of the skirt fit smoothly around the waist line. 

Two pieces of material may be slanted off on one edge, raised at 
the waist line and fitted in with darts. As a rule the skirt is divided 
into several sections, or gores; the number and size, however, is dic- 
tated entirely by the prevailing fashion. A skirt pattern made of two 
pieces, like the one shown in the illustration, may be divided into 
any number of gores desired; the width at the bottom may be varied 
to meet the requirements of changing styles. 

DRAFTING THE FOUNDATION SKIRT PATTERN. 

Study carefully accompanying drawing. Use a piece of drafting 
paper several inches longer than the back measurement and a trifle 
wider than one-half the skirt measure; if the paper is not wide 
enough, an extra strip may be pasted, or pinned, on one edge. Let 
the long edge of the paper represent line AB; draw line AC at right 
angles to it 7" or 8" from the end of the paper; let point A represent 
the center front of the waist line. As you are drafting one-half of 
the pattern, you will use one-half the waist measure and one-half the 
hip measure. 

To Locate Points with Which to Draft Back of Skirt. Measure out 
from point A on line AC one-half the hip measurement, locating point 
L. Measure down from point A on line AB the length of front measure- 
ment; locate point M. To locate point at bottom of skirt through 
which the center back line must pass, put a pin or thumb tack through 
the 1" mark on a tape measure and place it on point M; with a 



387 




pencil on the edge of the 
tape opposite the figure 
which indicates one-half 
the width of the skirt de- 
sired, describe an arc of a 
circle (a small part of a 
circle), slightly above point 
M; in the same manner, 
with point L as a center, 
describe another arc with a 
radius (measurement from 
center to outside of circle) 
the same length as line AM 
letting it cross the first arc 
at point W; draw a line 
through points L and W 
(this makes a temporary 
back line). 

To Draft Top of Skirt. 
The waist line of a gored 
skirt always curves up 
from the center front to-'/ 

ward the center back. The slant varies with the width of the skirt 
at the bottom; the wider the skirt is, the higher the waist line will 
be raised at the back. By experimenting with many different skirt 
measurements it has been found that the height of the curve in the 
center back above the center front is about 1/10 the width of the 
bottom of the skirt. 

At right angles with line AC draw line ON which represents 1/10 
the bottom of the skirt measure so it will intersect the indefinite line 
LW at point N. Draw a slanting line AN (the curve for the waist line 
will be drawn under this line after the point for the hip dart is 
located.) 

To Locate Hip Line. The hip line at hip is about 6" from waist 
line. The hip line at center front will be shorter than at the side 
because the waist line curves down in front. The hip line at center 
front equals 6" minus the difference between the length of front and 
side length. Tlie hip line at the back equals 6" plus the difference 
between the side length and back length (if the back length is shorter 
than the side length, the hip line will equal 6" minus the difference 
between the side length and back length.) 

To locate the position of the hip line, divide line AN in the center, 
locating point P; with the end of ruler on line AN draw line PR H" 



388 

long and place point U for side length of skirt. To locate the hip 
line at center front, measure down length of center front hip line and 
locate point Q. From point N measure down on line NW the length 
of back hip line and locate point S; with the tape measure, measure 
the length of the hip line QRS. If this is longer than half the hip 
measure, locate the point on line QRS and draw a new line \W 
through this point without changing the width of the skirt at the 
bottom; from point V measure down on line VW the length of the 
back, locating point T. Curve the waist line, as shown in the illustra- 
tion. (It is curved up at point P to shape the top of dart prop- 
erly.) 

To Draft Dart at Point P. Subtract one-half the waist measure 
from the length of line AY. Measure out on line AV each side of 
point P one-half the difference and draw the slanting lines to R shown 
in illustration for the hip dart. 

If a skirt is very narrow at the bottom it may be necessary to 
take up some of the waist line at the back with gathers, or by slant- 
ing in the back line from the hip to the waist line. 

LAYING THE PATTERN ON THE MATERIAL. 

This skirt pattern may be used for a two-piece skirt. Place 
the center front of the pattern far enough from the edge of the ma- 
terial to allow for a pleat or seam in front if you desire the skirt to 
open in front. Cut 1" outside of line VT for the center back of the 
skirt; or, place line AM on the center fold of the material and line 
VT on a fold of the material and join the skirt at the hips instead of 
the center front and back. (Have the placket opening at the top of 
the left hip seam.) 

This pattern may be used for a three-piece skirt by placing line 
AM on fold of goods and having seams on the hips and center back. 

One style of four-gored skirt may be made in the same manner 
as suggested for the three-piece skirt, except that the skirt opens 
under a pleat in the center front. If you desire to open the skirt on 
the side of center front, cut a new pattern of the front gore on doubled 
paper, calling the folded edge line AM. Measure the distance to the 
right or left of this line that you desire to have your opening. Cut 
the paper open at this point parallel with the folded edge. 
REMEMBF:R seams must be allowed in cutting out the material. 

DIVIDING THE FOUNDATION SKIRT IN GORES. 

The number and size of gores in a skirt change so often with the 
l)revailing styles that it is not deemed advisable to give in this text 



389 




a detailed discussion for 
dividing the foundation 
skirt into its many possi- 
ble divisions or gores. 
However, in order to give 
a general idea of the man- 
ner of dividing a founda- 
tion skirt, the accompany- 
ing drawing shows the 
skirl divided into five 
gores. This drawing will 
be suggestive of the prin- 
ciples which may be em- 
ployed in making any de- 
sired number or style of 
gores. Before dividing the 
skirt into gores, study a 
commercial pattern and 
notice the relative width 
of the gores at the hips 
and bottom and divide 
your skirt accordingly. 

The following figures were used in dividing this skirt: 

Front gore at waist equals 1/6 waist measure. 

Front gore at hip equals 1/6 waist measure plus 1". 

Front gore at bottom equals 1% times size of hips. 

Side gore at waist equals V^ waist measure. 

Side gore at hip equals ^4 waist measure plus 2^2". 

Side gore at bottom etjuals twice the size at hips. 

Slant the side gore in from each side of the hip line 1^4" to the 
waist line. 

Back gore at waist line equals 1/12 waist measure. 

Back gore at hip ecjuals remaining half hip measure. 

Back gore at bottom equals remaining half skirt measure. 

Take up remaining top of pattern in a dart in the center of the 
side gore. 

SUGGESTIONS FOR FITTING SKIRT. 

Put on the skirt right side out and pin it together. If the seams 
over the hips do not slant forward or backward at the waist line, if 
it fits smoothly around the waist and hips, if you can sit down in it 
comfortably and the lines of the seams are good, your skirt will 
need no alterations. If the skirt is pleated, the pleats should hang as 



390 

indicated in the pattern. The skirt should be evened around the 
bottom after the band is put on. It is an excellent plan to put on the 
skirt (after the seams have been stitched and the placket opening 
finished), pin the band in place and make it even around the bottom. 
A good way to even the skirt around the bottom is to have the person 
whose skirt is to be hung stand on a table, holding a yard stick 
straight beside her, with one end resting on the table; the hem of the 
skirt may be turned up evenly at any length desired, moving the yard 
stick as you turn the hem. 

If the skirt hangs forward at the bottom front, raise it at the back 
w^aist line. If it draws across the hips, let out the seams at the hips, 
and if necessary, at the center back. If the seam at the hip slopes for- 
ward, or backward, near the waist line, pin it straight. Be careful 
that the seams all have a general direction straight toward the floor. 

KIMONO NIGHTGOWN. 
MEASUREMENTS. 

Neck Measure at Shoulder. Measurement from bone in center 
back of neck out on the shoulder far enough to make the neck of 
the gown as low as desired at this point. 

Neck Measure at Center Front. Measurement from base of neck 
down the center front the depth desired for neck of gown in front. 

Bust. A loose measurement around the body over the fullest 
part of the bust close under the arms. 

Shoulder and Sleeve Measure. Measurement from base of 
neck along shoulder to bend in elbow, or length desired for 
sleeve. 

Width of Sleeve. Measurement around the arm above the elbow 
plus 6" or 8" (this depends on the size of sleeve desired). 

Length of Nightgown. Measurement from highest point of 
shoulder to the floor. 

Width at the Bottom. Measurement desired (from 2 to 2^4 yards.) 

DRAFTING THE PATTERN. 

Study carefully accompanying drawing. You are to draft one- 
half of the front pattern, which will also be used to cut out the 
back of the nightgown, thus making this pattern one-fourth of 
the entire gown. For this reason you will use one-fourth of the bust 
measure and one-fourth of the skirt measure in drafting your pattern. 

Draw line AB parallel with the edge of the paper; draw the line 
AC at right angles to line AB. 



391 



To Draft the Neck. Meas- 
ure out from point A on 
line AC the neck measure 
at the shoulder; locate 
point L; measure down on 
line AB from point A the 
neck measure at center 
front; locate point M; draw 
an easy curve, as in illus- 
tration, connecting points L 
and M. This neck may be 
made square by drawing a 
line from point L parallel 
with line AB to form a right 
angle with the line drawn 
from point M parallel with 
line AC. A straight slant- 
ing line drawn from point 
L to point M will make a 
V-shaped neck. 

To Draft the Sleeve. On 
line AC measure out from 
point L the length of the 
shoulder and sleeve meas- 
ure, locating point N; meas- 
ure down on line AB one- 
half the width of sleeve measure and draw line OP parallel with and 
1" shorter than line AC; connect points P and N with a slanting line. 
To Draft the Body of the Nightgown. From point A measure 
down on line AB the length of nightgown and locate point R. From 
point R draw line RS at right angles to line AB, making it equal one- 
fourth the width of the bottom measure. On line OP measure out 
from point O one-fourth the bust measure plus 2" for fullness and locate 
point Q; draw a slanting line from point Q to point S; from point Q 
measure down the length of line OR on line OS; locate point T; half 
way between the points R and S begin to draw the curved line RT 
for the bottom of the nightgown. Make a curved line at point Q, as 
shown in the illustration. 



^PT^ 




\N C 




M 











\ 


\r 




R. 




- -^5 


& 





LAYING THE PATTERN ON THE MATERIAL. 

Fold the material lengthwise in the center, then fold it crosswise 
in the center; pin the center front of the pattern (represented by 



392 

the line MR) even with the lengthwise fold and the line LN even with 
the crosswise fold of the material; cut out the back and front of the 
nightgown at the same time. 

ADAPTING THE KLMONO NIGHTGOWN PATTERN TO THE 
MAKING OF OTHER GARMENTS. 

By cutting the kimono nightgown pattern the desired shape at 
the neck, opening it down the center front and cutting it oil" the shape 
desired below the waist line, it may be used as a pattern for a comb- 
ing jacket. 

By opening the kimono nightgown pattern in the front it may bs 
used as a pattern for a kimono. If a yoke is desired in the kimono, 
cut off the upper part of the pattern the shape desired for the yoke and 
allow for seams at the bottom edges when cutting out the material. 
If fullness is desired in the body of the kimono, set the center front 
of the pattern over from the edge of the material far enough to allow 
for the fullness. In the center back, do the same, setting the 
pattern over from the folded edge of the goods the width of a seam 
if two widths are used to make the back. 



DRAWERS. 

MEASUREMENTS. 

Waist Measure. Measurement around the smallest part of the 
waist. 

Hip Measure. Loose measurement around the fullest part of the 
hips about (V from the waist line. 

Length of Side. Measurement 
from waist line over hip to the 
bend in the knee (take rather 
a short measurement). 

DRAFTING THE PATTERN. 

Study carefully the accom- 
panying drawing. The i)attern 
for these drawers is drafted on 
double paper which is folded 
along the side of the drawers. 
When the drawers are cut out, 
the pattern should be opened and 
the crease laid parallel with the 
warp threads of the material. 
Consider the fold of the paper 
line AB and draw a line AC at 
right angles to it. 

To locate the toj) of the side 
of the drawers, measure down 




393 

from point A 3" on line AB and locate point L; to locate the top 
of the front of the drawer leg, measure down 4" from point A 
on line AB and locate point M; draw a line MN one-fourth of the 
hij) measure; to locate the crotch of the drawer leg, measure down 
from L two-thirds of the side length and locale point O and draw a 
line OP parallel with AC, making it equal one-half the hip measure, 
minus 2". 

To lay out the length of the drawer leg, measure down on line 
AB from point L the side length and draw a line QR the same length 
as OP and parallel to it. 

To shape the front of the drawer leg, measure in 2" from point 
P on line OP and locate point S. One inch in from point S on line OP 
locate point T; draw^ a line from point N with the yard stick on 
points N and P within about 2" of point P; curve the line to point P; 
draw a line from point L to point N. 

TO SHAPE THE BACK. 

Measure in 1" on line MN and locate point U; with the yard stick 
on points S and U draw a line from point S up to line AC, locating 
point V; leave the line dotted where it falls under the front of the 
leg; curve the lower end of the line off to point P. With the paper 
folded, cut out the pattern on the heavy outline around points LVNPK 
and Q; fold back the upper part of the paper on the dotted line be- 
tween points U and P and cut the back of the drawer leg even with 
the crease; open the paper and cut out top of front leg on line LN, 
also the part left uncut between points P and N. 




